To a large extent, the Coen brothers wanted to portray Button Funk as themselves. The film is an interweaving of various realities and dreams, with many metaphors and puns, such as the portrait of a beautiful beach surf at the beginning and the beautiful beach surf scene at the end; for example, the Hollywood script handed over by Button is a wrestling wrestling with his own soul. The story of the hand, which corresponds to the wrestling between Barton and the hotel fat man, and the murder and arson of the hotel fat man behind him, are actually fantasies in Barton's mind.
But reality and dreams are not unrelated. The writer Barton liked was also a writer who had no inspiration for a long time. In the end, his lover Audrey came to Barton's hotel and said that many of his works were written by Audrey. Maybe this is just the heart of Barton. Most wanted to hear. And the death of Audrey in the back is all fantasy. The box given by the hotel chubby was related to Audrey, and it was Barton who subconsciously thought that Audrey was the writer behind the scenes, so looking at the box could make a lot of sense. Similar to the process of Barton's own creation, he didn't know how to write at first, staring at the portrait and longing for the company of beautiful women, Barton was confused. Murder and arson, Patton's inspiration is enthusiastic. Denied by the Hollywood boss, Patton came to the beach confused. Cohen's films use a lot of artistic techniques. It's hard to tell if this is their self-report. Maybe this is also their confused experience. But simply, they were more successful than Patton. There are two kinds of works that can spread the work. One is simple and easy-to-understand stories that can mobilize the impulse of the amygdala of the human brain, allowing the audience to release their emotions and follow the story itself. One is an in-depth work that has a profound energy density and mobilizes the human cerebral cortex to run for a long time. The audience arouses thinking or introspection in the process of the author's dazzling skills, and rationally recognizes the quality of the work.
And Patton's work, neither simple enough to make you cry, nor deep enough to convince, becomes clichéd and mediocre.
I think Cohen's puns and metaphors in this film are also relatively simple, and the depth is moderate. Not too good, not too bad.
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