Sammy (Mateo Zorion) has a significant talent, but at eight years old he doesn’t know it yet. He finds out about it the first day his father Bert (Paul Dano) takes him to the movies. You will know it so clearly, with such a total and radiant impulse, that it will change your life. “I can’t think of anything but movies,” little Sammy tells his mother Mitzi (Michelle Williams). By then, he’s trying to recreate the last big scene from the movie he just saw on screen as best he can. An attractive starting point for history Fabelmans.

Everything in Sammy’s head is an image. Everything is a kind of creative impulse that goes beyond curiosity or experimentation. He doesn’t know it yet, but the boy Bert brought to “the greatest show of all” will dedicate his life to cinema. Also seek, in the language of cinema, happiness.

It’s hard to describe Fabelmanswith his amazing combination of biographical element and fantasy. Especially the hybrid scenario in which his argument moves. It’s clearly about a director’s life turned into a tale of creative ambition, but it’s also more than that. This tipping point is the perception of history as the center of a broad and well-constructed view of the value of art.

Spielberg, a consummate veteran of storytelling based on wonder and the importance of man, finds the best storytelling in his life. From the first scene, in which the camera slides with eloquent and plastic eloquence, Fabelmans tells a small story that is destined to become a big one.

But not fantastic feats or inexplicable worlds. The great and wonderful destiny of Sammy is art. Showcase your undeniable talent that dazzles by the fact that it is amazing. This kid who almost immediately fell in love with movies also knows that the big screen is the door. Where? It’s a big question that tries to answer Fabelmans.

Movie Magic Fabelmans

At a time when all movie plots tend to be cynical, deconstructive and double reading, Fabelmans he is curiously kind. It might even be naive were it not for the fact that the four-handed script between Spielberg and Tony Kushner is ingenious enough to avoid this. This biopic, which does not pretend to be one, approaches pure empirical history only when necessary to return later to the land of the fable.

The camera looks at Sammy’s imaging experiments as small discoveries of great importance. As if they were miracles that happen based on random experiments. “Magic,” Sammy says, stunned with awe, wonder, and amazement as the images in his mind play out in the material world. “Magic,” repeats Mitzi, who soon realizes that her son is exceptional. More than you can immediately understand. Which you can dive into as Sammy begins to discover the true potential of storytelling in pictures.

because Sammy finds a space of gigantic possibilities in cinema. This is not just shooting, this is the creation of life. A good part of the script turns the fact of the movie into a kind of mythological awakening to which the Fabelman family awakens in innocent bewilderment. Sammy creates, but his ability to see what cinema can do is far beyond what Bert and Mitzi can initially understand. Oddly enough, Spielberg does not try to exalt his figure or talk about his life as a grand event. Fabelmans are interested in small and delicate wonders that are interconnected, that turn art, creativity and will into facts. In works, in artistic miracles, even from a very early age.

Of course, for Mitzi, the capacity for creative impulse is not entirely unknown. As a former concert pianist, he knows the power of what art can transform. Spielberg uses the combination to tie the idea of ​​past and future into an elegant line of aspirations. What he also achieves thanks to Bert, the first Fabelman to become interested in cinema. It seems that the artistic environment allows Sammy to feel that his need for construction and dialogue with images is something natural. But Spielberg wants what happens on screen to be more than a growth experience.

Fabelmans is a sublime combination of touchingly beautiful images and surprisingly flexible dexterity. Suddenly, Sammy’s early attempts at replicating movie magic grow into something more. In a cautious line to deeper layers of self-knowledge. The movie and Sammy’s rapid maturation become one. In a powerful version of reality and how we face its harshness. In this way, art is an immediate and profound response to deeper, impeccably crafted and told places of human experience.

Of course, Spielberg does what he does best. The camera becomes the intruder, then the witness from a distance. The color palette shifts, becomes vibrant as Sammy discovers cinema’s power to manipulate, entertain and make people cry. The light then moves like a conductor through spaces adorned with subtle angles. all in Fabelmans it is an idea of ​​the beautiful, of the reward of the creative. An eager search for the meaning of life and where it leads us.


All roads lead to the heart

But FabelmanIt is also an incomplete fable about the degree of intelligence and dexterity. The meticulous narration also covers family life. The vicissitudes, the silence, the way its members try to understand each other in a significant and emotional way.

Even when Bert’s best friend Benny Lowy (Seth Rogen) becomes a safe place for Sammy, there are hundreds of nuances to understand his place. Benny, unlike the aloof Bert, is warm, huge. Sammy has a lot of emotional places to ask questions. Hold your life and your aspirations as safe ground while all sorts of changes take place around you.

But Fabelmans it’s the same a thoughtful and well-constructed dissertation on responsibility with art. What to do when we know without any doubt and duplicity that our life depends on art? That everything that happens in the future will be something extraordinary and powerful due to talent?

As Sammy grows older, the question of his talent becomes more important, complex and extensive. This is no longer just a possibility, it is a fact. Carefully carved fate. For his final scenes, about to go down in history, it’s a legend, reminding Sammy that life is a marvel of art embodied in language.


John Ford (the wonderful David Lynch) makes it clear that artists’ time passes through different channels. That a great will is created to overcome insurmountable obstacles. Undoubtedly, between both things is talent. Dazzling magic born from some dark marvel that the movie doesn’t quite reveal but hints at.

This is not a biopic about Gloria Spielberg, although it could be. It’s actually a delicate journey through a fictional story based on the life of a man who loves movies. What better dedication to cinema than a story about how images can change lives? FabelmanYes, he does, and this is without a doubt his greatest triumph.

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