Wes Anderson's films are all beautiful in color, and the films I watch for aesthetics are pleasantly surprised to find that they are all actors I like.
At first, I was amused by the lightness and chaos of the 1960s, until I suddenly burst into tears. When an Indian child fell into the water and died, his throat suddenly tightened and his nose became sore, and he felt that this was not a comedy at all. But I am not crying for death, but for pureness, the mighty power of "pureness" that makes people frightened and moved by awe. The moment the rope is broken, the camera instantly switches to running, the river is rushing forward, people are chasing the river, waterfalls and trees are passing by, only running, the heartbeat is thumping, the water is swooshing, trying to run forward, this kind of The sense of power, the "pureness" of this moment is vividly displayed in the director's sense of rhythm. Why come, where to go, in the purity of this moment, we can see the essence of the relationship. Reconciliation From this moment on, the three brothers inherited the slowness and restraint from their father, and the step-by-step love of planning inherited from their mother. The boundaries of the deadlocked relationship melted away due to the sudden acceleration of heartbeat and the forgetting of distracting thoughts.
Of course, I came for beauty, and let's talk about beauty, the beauty of this film is also very satisfying. The deaths of Indian children are depressing and sad. But in an instant, I switched to the children's village, with bright blue houses, terracotta walls, and bright yellow sunlight. Paired with the breezy tone of the Western Highway, the tone switches back to light comedy. At the end, the three brothers climbed the mountain to pray. On the gray-white stone road, bright yellow flashes like flames.
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