Three thousand years of solitude – Teacher’s newspaper

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Three Thousand Years of Wishes was released, starring Tilda Swinton (The Lion, the Witch and the Wardrobe, Suspiria, Doctor Strange) and Idris Elba (28 Weeks Later, Pacific Rim “, “Dark tower”). Director George Miller, who has tried himself in a huge variety of genres, this time immerses us in a fairy tale-thinking about what real happiness is.

The heroine of Tilda SWINTON destroys stereotypes about female weakness

British linguist Alicia Benny (Tilda Swinton) arrives in Istanbul to give a lecture on narratology. In one of the street antique shops, she buys a glass vessel that she likes due to a defect and already in the room accidentally opens it, releasing an ancient genie (Idris Elba). The genie longs to fulfill the three wishes as soon as possible and gain the long-awaited freedom, but a number of problems arise on his way: Alicia is suspicious of this whole idea with desires, is generally satisfied with life and has no idea what she really wants. As a result, they strike up a conversation with the genie, in which he tells three bitter stories of his imprisonment in different ways, each of which is somehow connected with the love of women. The viewer will have the opportunity to look at a new interpretation of the legend of Solomon and the Queen of Sheba, look at Sultan Suleiman the Magnificent and Alexandra Anastasia Lisowska, known to many from the series “The Magnificent Age”, and see the story of the fictional inventor Zephyr, somewhat similar to the ancient Alexandrian scientist Hypatia.

The genie’s stories resonate in Alithia because they are similar to her own life: there was unrequited love, an attempt to escape from loneliness into a world of fictional stories, and an unfulfilled desire to escape from everyday life in order to rediscover herself. In the end, Alicia calls the genie the first wish. After that, the film raises its main question: what is true love? This question has been asked hundreds of times in hundreds of works around the world, but “Three Thousand Years of Desire” gives the only correct answer very unobtrusively – so much so that it can almost be missed, too immersed in the interweaving of a fairy tale and modern reality.

The screenplay for the film was adapted from the 1994 short story collection The Djinn in the Nightingale’s Eye and written by director George Miller himself. Miller is best known for the Mad Max anthology, but he is a master of many genres: his career includes children’s films (Babe: Four-Legged Baby), animated films (Happy Feet), and comedy melodramas (The Witches of Eastwick) ). “Three Thousand Years of Wishes” is an example of a 21st century melodrama that has gone beyond the old stereotypes of a weak woman who needs a man’s shoulder and a strong man who wants to conquer a woman. Both the main characters of the film have lived a long life – each according to the standards of their race – and both yearn for that love, which consists of mutual understanding, mutual respect and the ability to sacrifice without demanding anything in return.

“Three Thousand Years of Wishes” is a fairy tale for adults who have experienced disappointment. The themes of loneliness, betrayal, abuse and painful dependence on a partner are intertwined with the magic of genies and the ability to solve any problem with just one wish, which raises another question of the picture: what is reality? The viewer will have to answer for himself.

Giving the fairy tale story of Alithia and the genie a closed ending, George Miller leaves us to ponder whether it was real or whether everything that happened is an invention of Alithia herself, her manuscript, her story of accepting herself for who she is, and finding long-awaited happiness in this. Any of the options – or both at the same time – becomes a worthy completion of the picture, as it brings the main character to the end of the difficult path and gives her soul the long-awaited peace.

Skillful cinematography, full of camera pans around the characters, bright, realistic special effects of magic and gentle editing are combined with a soft, enchanting soundtrack that does not at all recognize Junkie XL (Mad Max: Fury Road, Justice League) famous for his powerful compositions. Zack Snyder). All this helps to immerse yourself in the magic that is happening, while the acting of Tilda Swinton and Idris Elba makes you believe the characters every second of their screen time.

In the original, “Three Thousand Years of Wishes” is called “Three Thousand Years of Longing” (the similarity with the title of the novel One Hundred Years of Solitude by Gabriel Garcia Márquez is hardly accidental here). “Longing” is not only a passionate thirst, but also a dreary dream: about a house, about a person, about something that is inaccessible to you. George Miller shows his own, not the most usual and sometimes metaphorical, way to get rid of this melancholy, putting the viewer before thinking about how many opportunities each of us has to become happy.

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