Regarding this film as a "Farewell Book" for director Woody Allen to return to the television circle, it would be much more interesting than the content in the film.
Not referring to ugly. On the contrary, "Café Society" (Café Society) is undoubtedly his most interesting work in the past five years. This is a slender story. It tells that the young minds of two young people are gradually divided into two by the real world. The flesh lives in the colorful Vanity Fair, but there is a simple nostalgia in the depths of the soul, which is for the family and the lover. There are many choices in life. One choice is a lifetime. You will regret it and you will not accept it, but can you escape? The wise Jewish aunt said that "not choosing is also a choice." But this intellect in turn means that people have to choose. The wheel of life is only forward. So we have learned to remember and want to escape from the moments of choice that continue to happen before our eyes. For the time being, if we go back to the beginning, we can live a different life and get what we love; therefore, we are nostalgic. This is normal.
The protagonist and the girl he loves used to roll in Hollywood, thinking that they could live a simple life in the city, but in the end they didn't. They broke up, returned to their new lives, and then the years passed. When they got married and established a business, they fell into deep cherishment and cherished the memory of that period of youthful love. One day, they met again in their hometown and took a night tour of the alleys and bridges together. It seemed that they had an affair but they were not. What they really wanted to re-experience was the spiritual homesickness. They did not derail, because they knew that the breakup would not go back to the beginning, but this realization is the proof that they were blended with reality. In the end, they continue to return to their respective rivers and lakes. At the peak of celebration in the workplace, the sadness can not help but grow in the crowd. The two missed the other party who could never reach. It is space and time. On the other side, this homesickness lasts forever.
However, only that? I'm afraid not. In fact, there is another person who is worried, the director Woody Allen.
The irony is: in 1986, when Woody Allen was interviewed by another famous director Godard, both of them expressed their fear of popularization of TV. The fear that the small frame of TV would ruin many people’s first time watching The experience of film has caused damage to film creators-"Film is an aesthetic, and TV is just a household appliance," Woody said. Who can be more qualified to say this than an Oscar winner and contemporary national treasure who made his debut on NBC television and boxed with kangaroos for variety effects? Thirty years later, Old Gundam continued to compete with the young man for the title of film experimenter, but Old Woody was ready to return to TV. The biggest opponent of TV people has also changed from a silver screen to a screen similar to himself. The popularity of personal computers and smartphones Become a new fear.
Then, as Woody’s 50-year record of one piece per year ended, and as a farewell to his return to the TV station, "Coffee Love" has become a huge expense, far exceeding his personal budget that he has strictly adhered to for many years. 15 million U.S. dollars, and several times more funds were used to create a 1930s scene double-woven from the Billy Foshan Zhuang Banquet Hall and Brooklyn Nightclub. The significance is obvious:
"Coffee Love" is the film itself. Di Allen's own "homesickness" is his eternal memory of the golden age.
The sadness of this young girl is common in any country in any era, but only once in the golden years of classical Hollywood, and only once in the heyday of Brooklyn nightclub culture in New York; Woody did not hesitate to spend a lot of money and did not want to modify it. The script is because there are world-like luxury venues anywhere in the world, and there are big rivers and lakes in all ages, but there is only one most prosperous Chinese theater, and only one most legendary Moroccan bar (El Morocco).
So, we can say this: "Coffee Love" is a movie about homesickness. The most homesickness is not in the play but outside the play, but it is the two hometowns of director Woody Allen where he has nothing to do with his own body-and the memory of the movie and New York.
Ever since, when we see the new people that the male protagonist first enters Hollywood, they are in fact a visual manifestation of an old director's remembrance of these spiritual models time and time again. This old director has such admiration for the idols, even daring not to find a live interpretation like "Midnight in Paris" (Midnight in Paris), only to tell the famous directors and celebrities from a distance through the dialogue; as for his super idol Max Marx Brothers and Bob Hope accidentally didn't mention it. The only explanation I can think of is that "Everybody Says I Love You" (Everybody Says I Love You) has already been played.
This old director has so much praise for the temple that makes history, even so he does not want to be like "Radio Days" (Radio Days) or "Bullets Over Broadway" (Bullets Over Broadway) only with out-of-picture hints of brilliance, and instead let his new favorite photography Instructing Vittorio Storaro (Vittorio Storaro) to bring Woody's film back to the "New York Stories" (New York Stories) back space the most complicated experience, in the swimming pool, studio, wine hall and Manhattan Bridge Indulge in shifting the focus, and arbitrarily arranging the audience’s sight in the intertwining of soft light and neon, is to make the audience visit these sacred places; in fact, this arrangement is too loud, and I am a little confused about why Woody is so indulgent. Victorio Stolalow, made him obviously take a set of shots for the Manhattan Bridge that he obviously wanted to challenge the 1970s photographer Gordon Willis (Gordon Willis)? Even the lens positions are exactly the same, but Gordon is the only photographer who can call the teacher the old Woody...
Some netizens said: "Coffee Love" is another semi-autobiographical movie that Woody will make every few years. I disagree. Woody Allen is one of the most difficult directors in the world to separate from the author's theory. He writes, directs, and plays by himself, and he loves to dig out his past in the film, just like the "Annie Hall" (Annie Hall) 40 years ago. ), "Stardust Memories" 30 years ago, "Radio Days", "Crimes and Misdemeanors", "Deconstructing Harry" 20 years ago, Ten years ago, "Hollywood Ending" (Hollywood Ending) and several stage scripts, as well as "You Will Meet a Tall Dark Stranger" (You Will Meet a Tall Dark Stranger) that he confessed that he wanted to do it in person, but this film except The role of the ace agent played by Steve Martin obviously alludes to Jack Rollins (the first line is Jack's words when he digs Woody), and the others are out of touch with Woody's life. When Woody was born, Brooklyn nightclub culture had already gone downhill. He also said to himself that "I only remember theaters, streets and car accidents in childhood."
What this story needs is not a noisy New Yorker in Woody's semi-autobiographical film tradition, but a wise man who is deeply aware that the years of confusion and decision-making have passed. When the Cannes Film Festival opened, the reporter asked Woody whether he regretted that he could not play the leading role. He could only look for Jesse Eisenberg to play the role. He said: "No. I can't play better than Jason. More level.” This is interesting, don’t forget that he is the protagonist. Woody’s description of "Midnight Paris" Owen Wilson (Owen Wilson) is “If I’m still young, I’ll play it by myself!” Obviously Jason It’s not only because he is often nicknamed as Woody’s stand-in at the time. What this film needs is not the kind of tiny self-watching, but the big view of a golden age rather than a withdrawal, and he doesn’t Fu Zhongwang can do it.
The golden age is like the lifespan of a person, and one day will eventually fade away. In the ending of "Coffee Love", the first owner of the nightclub was executed, which quietly hinted that the future of the club was going to be bleak, just as the dominance of Hollywood would collapse after the end of the 1940s; however, the celebrities who participated in the production of the New Year's Eve dinner What's more, the guests who visit the nightclub are also the guests, and the upcoming declining ending will instead paint the unique charm of the near-death scene for the film industry and New York. Woody Allen has wanted to solve the life problems that Camus pointed out all his life-"I don't want to die, and I don't want to see my beloved die, but my beloved and I will die. This is the absurdity of life." The dialectic of this passage is the same in the film Appearing, it was just changed to a bedside conversation between a Jewish couple. The wife hopes that people will have an afterlife, and the husband says that people must die. However, he will fight hard in front of death to show that he has lived.
Things change for stars, love will pass away, and the more brilliant before death comes from the hands of a director who is about to bid farewell to the movie-can't it be overheard?
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