In 2009, a research center in India located in the depths of a copper mine, is detected a sudden change of the emission of solar neutrinos and the consequent heating of the Earth's core.
The discovery is studied by the young scientist Adrian Helmsley, which estimates the risk of the first effects on the crust in the long term and therefore decided, in accordance with the interests of the directors of the American government to devise an evacuation plan for maintaining the secrecy about the future threat global. After just three years, however, the mantle begins to melt and on the California coast are the first giant cracks.
Curtis Jackson, writer of science fiction novels of little success, he realized while in camp with two children at the park of Yellowstone. There, the lake has completely dried up and a crazy radio host, Charlie Frost, spreading live updates on the upcoming end of the world ...
In an era in which even the blockbuster they found they had a soul, pop, willingly or unwillingly, at dawn on 11 September 2001, Roland Emmerich claims his right to the disaster and the pride of a triumphalistic film merely playful. While the heroes of cine comics are increasingly the weight of great responsibility and wars are waged in the subjective worlds, Emmerich does not live by the need to achieve blockbuster refined in line with the zeitgeist.
Since the days of Stargate and Independence Day, his project is rather a systematic attempt to expand the size of space and time to tear and then telling basically the same story. Fathers brave, brave soldiers, scientists and presidents heroic geniuses are the protagonists, without spot or thickness of improbable stories which, when not exude a retrograde conservatism and patriotism exasperated Virano towards the spirit of potato and stereotyping on the different populations fané the world.
But beneath this surface cracks visible under a sentimental attachment to both the pound and an incredibly naïve humanism, hides a heart-land of pure spectacle of the people. By 2012, Emmerich makes it an obvious component of its popular cinema that, unlike the twin made in the USA Michael Bay, do not search in the clash, in the turmoil of physical or mechanical perfect muscular bodies, but the old charm of a carriage from Luna Park complete with barker who mocks the rich and powerful. On it are also taken little if any reprimands on the (not) ethical product. Has little sense to put in parallel as earthquakes, tsunamis and flooding of our Earth with the performance of the spectacle of the disaster of his films. For the simple reason that they do not represent this world, but the macroscopic projection of an ancient fascination with the destruction linked to the complex of Nero involving cinema dawn of his day.
As the enormous scale of the disaster may seem staged, watch one of his films is like to walk around a park of miniature city where he admitted smashing everything, where you can give vent to the most destructive impulses of childhood. Where apocalyptic eschatology responds less to principles than to those of the game. And, occasionally, to play the game, is not the end of the world.
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