The deconstruction of the inherently traditional genre is tempting for any director who has become famous, let alone the Coen brothers of the independent film industry. Compared with the earlier types of criminal violence, "Drunken Country Ballad" can be regarded as their most tender film. The camera follows the folk singer Daveen, who sleeps on the sofa of different friends every night, and sings with different singers at the gas light bar. So don't follow the advice of the bigwigs in the circle. Ideal and life are like two parallel lines that do not intersect, dragging him to run at both ends, and the cycle goes back and forth with no end in sight.
Obviously, this is not a film that is true to the genre, as the Coen brothers say, not a biopic. Naturally, there is no fixed formula for struggle, struggle, and harvest that commoners like us expect, nor is there a bridge to break through, stand out, and meet noble people that commoners like us expect. Instead, a bit of a pretentious folk follower who sees music as a mission rather than a means of making a living, chasing record company bosses for wages, gigs for opportunities, peers for housing, even in front of ex-girlfriends and family members. , to discuss a so-called ideal sense of identity. The Coen brothers, with their usual neutral and restrained attitude, watched the folk advocate's trivialities with indifference. It is difficult for the audience to recognize where the climax of the whole film is and what the ending is. However, this anti-type technique, which is not loyal to the genre and is more loyal to life, has the power of post-production. Life. The ideal is like a candle in a hut that is ventilated from all sides. It should shine brightly and resist the wind and cold.
The American folk movement in the 1960s had many famous names, including Bob Dylan, who appeared in a gaslight bar at the end of the film, but the Coen brothers did not focus on successful stars, but on frustrated folk singer Dave Van Ranke. Interest, take the trouble to pat a folk singer who hits the wall everywhere, not whitewashing, not avoiding, not screening and condensing, just like the pursuit of ideals, not only vigorous, but more of a solitary walk. Keeping the ideal taste will be as charming as whisky, but more insipid as plain water. This kind of anti-type plot just shows the respect for those losers outside the limelight, and the good intentions of the Coen brothers flow in the detailed line drawing.
To this end, the film uses the narrative method of running accounts. This highly confident and challenging narrative is mostly used by senior directors who have become famous and have families. They understand that the closer to the real thing, the harder it is to approach most audiences. Sometimes it takes courage to accept the truth. Therefore, it is essential to hide the details of the organization and create a spray for a still water. What's more, the Coen brothers are masters of dark humor. The seemingly inadvertent scenes and props act as the protagonist's annotations. That cat is the object of Daveen's ideal projection, from following - escaping - finding a substitute - lost and regained, alluding to the cherishing and price of the ideal. When his ex-girlfriend asked him why he didn't have a goal, he argued that he was not for the sake of fine clothes and jade, but only for the pure principle of creation. When his sister laughed at him for not having a serious job, he threw out his disdain and did not grieve his soul because of his physical embarrassment. He chose to go all out.
All our lives, we are free from the expectations others have of us.
Under the persuasion of the big guys in the Chicago folk music industry, he never wavered. Singing what he wants to sing is his last pillar. In several of the ballads in the film, Daveen sings as himself, the agony and anger of the previous minute are dissolved in the guitar solo of this minute. A single persistent pursuit gave him a sense of happiness that no one else saw. In the film's anti-climax approach, there is a low tide in the plot, when he leans over the table in the cafe and blurts out "I'm tired". However, God reserved him. In front of the cat named Ulysses, his eyes were stunned, and he was enlightened by the story of the ancient Greek war hero Odysseus suffering at sea for ten years.
The tone of the whole film is the gloomy winter in New York, and the scenes go back and forth in the narrow corridors of several closed apartments. In the backstage of Chicago’s “Gate of the Corner”, the mid-shot of metal chairs lined up in the dark, the cool light reflected in the dimness, and the exquisite lens texture seemed to be a prophecy. Daveen was greeted only by the backstage and the end of the stage, without the stage and lights. At the end, the Coen brothers playfully give a few scenes and shots that are almost the same as at the beginning. If you pay attention carefully, you will find that this is not a flashback, but a cycle of fables. It was still that dazed morning, the back alley of the bar, and the two uppercuts that directly hit the lower abdomen. Life was comically similar and teasing. The black temperament of the Coen brothers was possessed by the language of the camera.
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