once saw a story that was very scary and thoughtful. There were busy people living in a city, who went out early and returned late, staying here and there. Suddenly one day, a person touched his heart accidentally, and was surprised to find that: I can't touch my heart! It turns out that everyone is already dead.
Davis Mitchell probably came out of this story. A Wall Street talent who succeeded in self-discipline suffered the sudden death of his wife, but he did not feel sad. He confessed to the doctor that he had no feelings for 10-12 years. The doctor performed a CT for him, and then pointed to the film and said to him: No, Your heart is missing a piece, judging from the bite mark, it was bitten by a gypsy moth.
This is Davis's conjecture. I mean gypsy moths, not numbness. Numbness exists, in other words, non-existence exists. Such an off-line, impersonal, and easily disgusting character cannot be controlled by any face. I'm not talking about a perfect and beautiful face, but the face that director Jean Marc Vallee wanted. In the interview, the Canadian director shouted in French-sounding English: Look at this face! Look at this face!
Li An smiled heartily.
At the Shanghai Film Festival that was just held in June, he raised the issue for the stars on the forum: I have made so many films, and I don’t believe the first few films. Naivety is unfair, some people start to imagine when you see him, and some people don't care about acting and die. It's really unfair.
A face that evokes imagination, a face that connects the audience. 'it's Gyllenhaal who keeps it all together.' Hitfix commented on Demolition like this. Anyone who follows Jake knows that his face leads the door and his practice depends on himself. He works so hard to make it looks so easy. The nature of Demolition depends on self-abuse in the industry for more than 20 years.
Although the script is a little out of touch in some plots, the whole movie is magically complete. In addition to the actors, the shots and soundtrack also made significant contributions. So that, after watching the movie, I went to the OST to repeat the loop. The fragmented plot is kneaded by the director with jumping shots and just the right music. Fortunately, this method happens to match this kind of movie.
What kind of movie is this?
The sea is full of water, and the heart is full of drama.
Davis struggled to recognize his own situation while drowning, wandering unconsciously trying to distinguish the boundary between reality and reality, with a large number of subjective perspectives, inside and outside acting, Everything becomes a metaphor. The difficulty of such a film is to relate to the audience, engage the audience, and let the audience experience a more tangible reality than realism.
The perfect combination of lens and soundtrack is a great contribution.
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To name a few:
Karen’s response to Davis’ letter of complaint seemed to be a glimmer, and when he drove to her office, it sounded Crazy on you messy And a prelude to throbbing. . .
When Karen and Davis visited the abandoned carousel warehouse by the sea, it was La Boheme, a French chanting bohemian. From the graceful prelude to Charles Aznavour's more passionate and free and easy singing, the two ran freely on the beach. . .
The wife in the flashback of memory always has a touch of sadness, and the sadness of separation, even if the two are cuddling, the background is to be alone with you. . .
After Wang Nian gave Chris to Davis's mobile phone, he filled with a strong rhythm of rock & roll, Davis danced on Wall Street in New York. . .
At the end of the film, Davis finally cried. He returned to the beach. The music played by La Boheme again in the background. . .
At the end, the subtitles rose, and the song Warmest Regards sounded like the signature of a Davis letter. WARMEST...REGARDS... Flip on the tip of my tongue. . .
There are also handheld photography and editing.
Some directors have focused on using fixed cameras for 30 years, rarely using close-ups, and prefer wide-angle, such as David Fitch, he wants a God's perspective, calm and cold.
Others prefer to be handheld, a typical way to bring the audience into the role. For example, last year’s blockbuster "Son of Sol", combined with the incredible combination of shallow focus + long lens, made the lens almost 2 feet behind the protagonist’s head, and all the shocking things that the protagonist was in the concentration camp were blurred. . The endless long shots do not include a panoramic view, but are fixed on the head of the character, giving the audience an oppressive sense of presence, and at the same time a sense of powerlessness abandoned by fate.
This film is also hand-held. The difference from "Son of Sol" is that it uses fragmented jump cuts. It seems to give you a few key points, and then let the audience connect by themselves. Lively, a combination of reality and fiction, no lack of humor, and stop on point. You approached the weird Davis, but you were not swallowed by the weirdness. A bright little tail was left for the end.
So, slowly you know that Davis cannot "correctly" mourn his wife, it is not that he does not love his wife. He couldn't find the heart he used to mourn his dead wife, because he had lost himself long, long ago. 'Lost' happened before'discovering the loss', but love was revived by interrogating death.
Next, talk about the shortcomings.
One word: scattered.
This is a story driven not by the plot, but by the characters. That is to say, if one of the plots is out of order with another, it may not affect the viewing. Or a certain section will not affect the viewing at all. There are even individual plots, well, there is no meaning in existence. For example, I watched the whole film with gusto, but when Chris and Davis were practicing guns in the forest, my weird tolerance threshold was full and I couldn't pay the bill.
But thanks to a few actors, some originally embarrassing plots have been resolved, and some profoundly unprofound deliberations have also been pushed over like Tai Chi. Thanks to the short editing, some discomfort was quickly cut to the next shot. The rest is quite memorable.
This is not a film suitable for everyone, or for any stage of life. But if I'm honest enough, not afraid to expose my softness, I want to confess and cry at the end. But I would not recommend it to anyone, because it is beyond words for me.
Just to record the feelings in the head at the moment, above.
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