Divergent – our review

Divergent – our review

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In the rain of Fanta Young Adult, a new literary phenomenon chooses the path of simplicity ‘, also in the message.

Forget Hunger Games and forget the origin of this literary Divergent, may be unnecessary. The dystopia of Suzanne Collins definitely has the same roots Orwellian than that of Veronica Roth, although development seems to exploit more ‘definitely guidelines and dynamics rather simple and stereotyped. Once again – and more and more ‘- the genre tells us a society’ in which independent thinking is feared and persecuted, and the need for order and uniformity ‘has produced a clear division into factions, each in charge of a function even if bent the narrative needs more ‘than logic.

Given the production phase and welfare (of the Pacific, in fact the only engine of the company ‘), the legislative and’ entrusted to Candidi, Abneganti to the executive, the cultural and the military for Scholars (a defense that should also be protected, as always in theory) to the Intrepid. An interesting way to sweeten the concept of caste – also considered the unofficial sixth faction of the Excluded – after all, telling of a coup among intelligentsia as it does not happen often, and not just the movies.

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On the whole attempt, built and design, to attract young audiences by leveraging the physiological conflict ‘to his superiors, parents (including Maneschi) or institutions that, and adding a touch of sentimentality and Young Adult that now seems unavoidable. The result ‘of what may divide, as already’ positively surprised not a few, but apart from that simplifications first chapter in a new trilogy announced its holding in its substance.

About messages very simple, praising the order as a main rule and cancellation of diversity ‘(at least that is not organized into categories or time to the needs of society’), and characters as linear and slightly faceted (the ‘divergence’ not part of our conception of complexity ‘of a character), Kate Winslet included. A two-dimensionality ‘that director Neil Burger has handled more ‘pick, succeeding (not always that’ in some cases – like for Peter to Miles Teller – some lightness of construction and ‘obvious) to make fluid material with a more’ than a defect in the script.

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Of course, talk about totalitarianism and free thought in this way, and ‘very simplistic, but very encouraging news coming on the second chapter of the saga literature threaten to re-evaluate in retrospect this incipt even the most ‘skeptics.