It's said that Woody Allen is the worst point at the end of the game, wrong, big idiots.
The first three quarters of the story, used to express his fascination with the city from his method of filming, to subtly lay out the structure, intensify the contradictions, and more importantly, to stretch the length of the story, must be shot for two hours, so that the final focus on the subject The echoes are more dramatic.
What he wanted to express was not directly stated this time, but given by the structure. A writer I like very much, A Yi, said on Weibo a while ago: [I used to think that the structure was a trick and a crooked way, but now I don’t think so. Many things are not worth telling without the design and construction of structures. Even if it is said, many things cannot be reflected]. It must have been inspired by Faulkner's reading, and these words were used to complement each other at the end of the game. For example, it is one level for a male protagonist to never let his wife get pregnant, one level for his lover to get pregnant, one level for killing his lover and his flesh and blood, and another level for killing his wife and finally getting pregnant. This kind of nested absurd conflict is silent, and I like all the attitudes that I do things seriously and don't care whether they see it or not. The lines are exceptionally honest, and the emphasis on the plot is outrageous, and the restraint is especially commendable. When the male protagonist confesses an extramarital affair, whether it is himself or a friend, no one talks nonsense, just directly [who can give up the upper-class life, no one can].
Smart people have to be smart after all, this is only right, the cliché and the absurd of the whole story are connected end to end, forming a complete circle, and it just happened, like signing a name beautifully at the end, very Woody Allen. The whole film is not afraid to show his excellent classical taste, not afraid to express praise for "not beautiful", not afraid to show that I am still more advanced than you fools, this is Woody Allen.
And then I have to praise the murder part, it's so awesome and professional, please cry for Hitchcock, please cry for the telephone murder. For example, black people explain to the police that people are constantly interrupting when they pass by. For example, the male protagonist killed his lover in the corridor instead of in the first room. The beauty of the corridor is that he may be seen, may walk, and may conflict with his lover. The male protagonist is holding a gun, and the elevator slowly rises. This is suspense.
The three arias of the opera [Othello] as the background for this passage are a seamless fit for London, for Shakespeare and for the plot. There is nothing that can't be filmed about tragedy, just look at [Deep Heart] in 1978, you can click it this time, and the background music is enough. Genius can do anything, it's true.
The last half-hour of suspense was really well done, so even if the circle was incomplete, the film was good enough.
View more about Match Point reviews
