It's hard to remember the Morgan Freeman young man in front of the screen. Because the actor in essence has always been the same. An adult type of hieratic gesture that, however, is capable of transmitting a multitude of emotions. Without a doubt, we are facing an innate gift that, from our gaze, can communicate to us all kinds of deepest psychological and emotional motivations.
Perhaps he is not the prototype of the main actor to whom to entrust the complete evolution of a plot. But Freeman ends up being the best complement for all kinds of leading roles more dedicated to a probable overacting. I am referring to that Hollywood histrionics that replicates remote epics on any stage. While that is happening, Freeman plays him as the mainstay of the entire plot. Something like the role of the bass player in any rock band.
Sometimes Freeman gains prominence and also comes to us thanks to his chameleon side that can range from God himself to a time traveler, or the friend on whose shoulder to cry sorrows or the military high command that exudes severity and unspeakable secrets. A multitude of registers for an orchestral actor always in demand in big productions.
Top 3 Recommended Morgan Freeman Movies
Cadena perpetua
AVAILABLE ON ANY OF THESE PLATFORMS:Red, the character played by Freeman is the one who tells us this story made in the Stephen King of the little big stories. Those that may be mere short novels, but so great that they end up making it to the cinema to be masterpieces. With which the protagonism is absolutely of the Network that unravels everything that happens to us.
He is the one who sees Andy Dufresne (Tim Robbins) arrive in jail and barely gives a penny for his survival. The opposite of what happens to him when he sees him cross the threshold of his cell early the next day. Something in that guy catches Red's attention. Some first approaches to offer his usual business in the shadows and that friendship that is savored in small sips.
Red ends up being Andy's shadow. Because Red soon discovers that the new one has more leadership skills and more capacity than any of those locked up in that prison. Nothing is easy for Andy. A businessman tainted by a dark crime of passion that smells more like a plot than anything else.
But Andy made himself into the great guy he was, and Red knows he too can rise from the ashes. That or sink before the constant threats that hang over him between prisoners longing for his favors and jailers eager for unspeakable revenge.
The ending of the movie is epic. Because Morgan Freeman, Red, could get out of the way like some other character in the story who gets out of jail too late. Once institutionalized you have no business out there. But when Red least expects it, they review his parole and he goes out into the street. Out there Red is no one and only someone like Andy, epically escaped revenge with the point of him a Monte Cristo through, you can save him…
Seven
AVAILABLE ON ANY OF THESE PLATFORMS:Under the stigma of secondary school that would kill anyone else, Morgan Freeman shows a resignation that sets a chair in terms of that interpretation without fanfare, precise, surgical. Something like the task of the assistant midfielder who gives all the goals to the striker.
Beside Brad Pitt it was to be expected that Freeman would delegate close-ups and such. But nothing has to envy his role against that of another shark of short distances such as Kevin Spacey. Spacey's lousy villain has as much pull in this movie as Lieutenant Somerset who embodies a Freeman with gestures that seem to carry the weight of the world after years facing evil.
A masterpiece of suspense and crime all in one. Because of the plot, of course, but also because of that solidity that the story has from Pitt's leading role to that point of Virgilio leading Dante by the hand while they go deeper and deeper into rings of hell that can end up being endless spirals. exit for no one...
the summer of their lives
AVAILABLE ON ANY OF THESE PLATFORMS:Curiously, this is one of the films in which Morgan Freeman has the most presence but which happens to be a very distant interpretation of his recurring genres with a darker tone. This movie is existentialist, intimate, sprinkled with those points of humor and hope typical of easy-to-tear movies. It's not a great film, but you always want to finally find good old Morgan Freeman at the helm of a plot, of any kind.
After the death of his wife, writer Monte Wildhorn (Morgan Freeman) has become embittered, losing faith in the world and himself, finding solace only in alcohol. His nephew, worried about him, has found him a place to spend his holidays: the summer house of a musician friend of his: the only condition is that he takes care of the dog.
There he meets Charlotte O'Neil (Virginia Madsen), an attractive divorcee trying to start a new life, and her three daughters: six-year-old Flora, ten-year-old Finnegan, and fifteen-year-old Willow. His relationship with them will remind you of what his wife used to tell her: "When one door closes somewhere, another opens somewhere else."
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