{"id":126271,"date":"2023-02-16T19:39:40","date_gmt":"2023-02-16T14:09:40","guid":{"rendered":"https:\/\/www.imageantra.com\/pure-gold-rheingold-2022-review-tells-the-life-of-rapper-xatar-and-is-fatih-akins-biggest-box-office-success-this-film-places-us-in-a-germany-eaten-away-by-racism-and-corruption\/"},"modified":"2023-02-16T19:39:40","modified_gmt":"2023-02-16T14:09:40","slug":"pure-gold-rheingold-2022-review-tells-the-life-of-rapper-xatar-and-is-fatih-akins-biggest-box-office-success-this-film-places-us-in-a-germany-eaten-away-by-racism-and-corruption","status":"publish","type":"post","link":"https:\/\/www.imageantra.com\/pure-gold-rheingold-2022-review-tells-the-life-of-rapper-xatar-and-is-fatih-akins-biggest-box-office-success-this-film-places-us-in-a-germany-eaten-away-by-racism-and-corruption\/","title":{"rendered":"Pure Gold: Rheingold (2022), review: tells the life of rapper Xatar and is Fatih Akin’s biggest box office success, this film places us in a Germany eaten away by racism and corruption"},"content":{"rendered":"
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The German Fatih Akin<\/strong> is a director always worthy of interest, with a laudable risk appetite<\/strong>, even if it does not always live up to the expectations created. Despite the fact that almost twenty years have passed since the critical and popular success of the moving ‘Against the Wall’ (2004) and that it is still his best film, the filmmaker continues to premiere regularly in Spain, arousing conflicting positions among specialists and achieving, What is not little, that each film is different from the previous one without losing a kind of authorial stamp<\/strong>.<\/p>\n

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Since then, his films have been uneven, sometimes unsatisfying, sometimes irritating, other times simply unsuccessful and forgettable. Among them, the ambitious ‘Al otro lado’ (2007), Jury Prize and Best Screenplay at Cannes; the disappointing ‘Soul kitchen’ (2009) and the tricky and ideologically confused ‘In the shadow’ (2017), starring Diane Kruger.<\/p>\n

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His penultimate adventure, ‘The Monster of St. Pauli’ (2019) was inspired by the true story of Fritz Honka to approach the psychokiller in the form of a grotesque black comedy that did not always land on its feet. Three quarters of the same can be said of ‘Pure gold (Rheingold)<\/strong>‘.<\/p>\n

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It is not a particularly successful film, certainly interesting, but its portrayal of the life of rapper Xatar in the form of crime tale of fall and redemption manages to escape the mold<\/strong> the typical Hollywood biopic.<\/p>\n

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‘Pure gold (Rheingold)’ has a good rhythm despite its excessive duration, at times hectic, somewhat tricky, somewhat weighed down by the weight of his ambition<\/strong> and that in the end it ends up betraying itself (in a similar way to ‘En la sombra’?) but suggestive enough to deserve reflection and detailed comment.<\/p>\n

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That is to say, a work one hundred percent Akin<\/strong>this author who, above all, must be recognized for his estimable and almost obsessive perseverance in portraying the dirtiest and most uncomfortable face of his country, far from its image as the most powerful power in Europe.<\/p>\n

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Crudeness, pain and redemption to the rhythm of street rap<\/strong><\/h2>\n

‘Pure Gold (Rheingold)’ is assembled from a long flashback<\/em> which narrates the life of its protagonist until his admission to prison as a result of a failed robbery<\/strong>. This is, without a doubt, the most valuable part of the film. Akin approaches the story of this petty criminal recounting his adventures with an epic aura<\/strong> and a pertinent urgency in which the symbolic also has space.<\/p>\n

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Akin is careful not to show his anti-hero as someone nice or complicit, eliminating almost all the ties that the viewer can establish with him, love story aside. His episodes possessed by physical and forceful violence are always more interesting.<\/strong>, which are reminiscent of the best Van Damme titles, which became part of the “heist movie” conventions. German is not Scorsese; neither is Hanson from ‘8 miles’, from whose model he manages to distance himself based on the crudeness of the images and the codes of the genre.<\/p>\n

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