Anomalisa evaluation action

2022-01-04 08:01
The plot of "Anomalisa" is so simple that it can't even count as a vignette. But the meticulous work done in the details of "Anomalisa", the first work is a typical American humor. Before Mike called his ex-girlfriend to rehearse the dialogue countless times, he was in a hurry because he didn't recognize the voice of the other party. In the scene of Mike and Lisa having sex, the details such as accidentally pressing the hair and bumping the head were enough to make people laugh.
Beyond this, Kaufman's iconic spiritual analysis can also be seen everywhere. The most obvious point is Lisa's voice acting. When I first met, Lisa’s voice was a female voice. After spending the night together, the love halo faded, and Lisa’s voice gradually changed to the same male voice as her ex-girlfriend. This is an obvious "explicit"-love is only a moment, if you want to Life is the same for everyone   .
Realism has become a powerful weapon for "Anomalisa", and it also allows the audience to look at their haggard and haggard self in the misty space in front of the animated puppets, just like Michael in the mirror in the film. As the climax of the plot, the one-night stand incorporates real emotional projections, and it is full of fun under the background of various details that make people laugh. However, perhaps in order to allow the crisis to be closed from the beginning to the end, and to make more room for the tender clips, the director consciously slowed down the pace of the sky in the second half of the film. After a dream full of weird atmosphere, the film Begin to move closer to the realistic style.
If we say that the first half of "Anomalisa" aims to analyze the morbid mental outlook of contemporary people with the escape of the family, and use the form of animation to boldly make a real-life attempt, and successfully create a certain kind on the screen. The dizziness that is real and withdrawn. Then, the scribbled ending makes all the previous craziness finally lead to the pedantic cliché of "middle-age crisis"   .
Kaufman's brain and animation are a match made in heaven, and those grotesque plots are especially suitable for this form of expression. The animation technology is perfect in this film. The various textures and motion trajectories in the details make it difficult to distinguish the authenticity. Only the slightly unbalanced human body proportions and the deliberate sense of freeze can make people realize that this is a movie. cartoon. In this case, the character's face retains the obvious seams like old-fashioned puppets, which is obviously intentional. It makes the face very realistic. The face has always been awkward and rigid, and the rigidity of the corner of the eye determines that the entire facial expression cannot be vivid. The character is like wearing a mask, and it is impossible to see others or let others see clearly. Own. At the same time, the sluggishness of stop-motion animation also creates an unusual comedy effect   .
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Extended Reading
  • Lourdes 2022-04-24 07:01:16

    A little oily, but ok

  • Wilfrid 2022-03-29 09:01:04

    In Charlie Kaufman's [Disorder], the saddest part is so funny, and the most hilarious part is so bitter. This isn't a midlife crisis story, it's a pessimistic allegory about love, depicting the explosion and death of a love. It is eye-catching when it is most magical, and it is unbearable when it is most real. But when the fire of love died out, the magic of the movie disappeared, and it ended in a hurry.

Anomalisa quotes

  • Everyone else: [Bella, after Michael downs a martini] God. You drank that fast.

    Michael Stone: I get a lot of practice.

  • Everyone else: [Lawrence Gill] I understand that you had a guest in your room last night.

    Michael Stone: Is that a crime?

    Everyone else: [Lawrence Gill] No, not at all. Certainly hoteliers are in the business of being discreet about our guests' philandering.

    Michael Stone: Philandering?

    Everyone else: [Lawrence Gill] No, it isn't that. M-My choice of words - - It's not about that at all. It's...

    Michael Stone: How do you even know that, anyway?

    Everyone else: [Lawrence Gill] Well, I... Mr. Stone, may I be candid with you?

    Michael Stone: [sighs] I guess. I don't what the hell you're getting at.

    Everyone else: [Lawrence Gill] Well, I -- um -- I love you.

    Michael Stone: [aghast] Right. I'm leaving.

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