Like Russian nesting dolls, there are stories in stories and dreams in dreams. Although this way of telling has a long history, it was not highly praised in the game atmosphere of novels until modern times. Later, in the field of film, it carried psychological symbols, Sci-fi symbols, expressed more abundantly. These structures are typical plays within a play.
The film also has another layer of play within play, that is, the nesting doll of the performance itself, which is also a typical artistic structure, related to one of its predecessors, the ancient theatrical tradition. In the past, there was a traditional stage tacit understanding between the audience and the performers. This tacit understanding was that few audience members rushed to the stage and asked if this smudged face counted as Lin Chong, and if this pace counted as a night run? Including shadow puppets similar to cartoons, this fake stage performance can no longer be fake, and few audiences care about the form, but default to the real.
The original movie still obviously inherited the traditional theatrical convenience, and it was easy to get the audience's tacit understanding, that is, when I look back at them now, I often see a simple performance similar to that of children. With the development of images, live-action movies with realistic backgrounds, compared to traditional stages, the degree of restoration of the scenery is getting higher and higher, and the convenience of traditional drama is getting less and less, no audience can rush into the movie, but ask Hualian if it is Lin Chong , this form of questioning, the more and more the audience shouts.
Matryoshka's performance itself is a play within a play, which is a concentrated phenomenon that has only appeared in the last two decades. Compared with the performer's initiative, it is more of a forced reason. It is difficult to establish a traditional tacit understanding of the audience, then establish a modern tacit understanding. Almost all of the excellent modern acting dramas exist in some good commercial films.
A major element of commercial films with realistic backgrounds is legend. For the film itself, legend is a traditional dramatic effect. In the intuitive sense of modern audiences, the synonym of real legend is bullshit. Compared with serious themes, bullshit themes test the tacit understanding between the performers and the audience. Because the theme cannot give the audience too much awe, it will naturally lead the audience's attention to the performance of the story itself.
Although on the other hand, there are also many films with more serious themes and lack of artistic content in the performance itself, which are regarded as the opposite of commercial films, that is, the positive meaning is tall, and are respected and learned by the audience. This phenomenon is not limited to movies. The grand student feeling that the content and subject matter is greater than the form of expression, that kind of understanding of life or understanding of humanities after watching, is the majority of performance in most fields.
Take "Cold Blood Pursuit" as an example, an old man slammed down the underworld youth with a few punches, and the atmosphere of a real legend was quickly launched. We are here to bullshit. Such an overall intention and appeal are obvious. For those viewers who did not turn around, How to pull this egg well, then there are requirements, because in fact, there are not many movies that pull the egg well, and there are not many excellent commercial movies.
For the audience, seeing the old man banging can be regarded as the rhythm of the performers' conscience. They don't go around and make some solemn thinking silhouettes that are contrary to the legend, and the audience's bullshit expectations will also quickly build up, start, start Now, the popcorn in all directions has begun. Compared with the sneaking of the rhythm and atmosphere, the visual responsibility of bullshitting falls more on the actors.
In recent years, Liam Neeson has been a bright commercial ID in itself. Those series of rescues have created a unique impression of bullshit. In "Cold Pursuit", his performance is still the same, and his bullshit is more natural. The meaning of the play within the play is relatively simple for him, that is, the seriousness of the expression, and the slight non-participation in the expression that exists in the expression.
Not participating in the play is not a derogatory meaning of the audience, nor is it the actor's intention. It seems to be natural, or cultivated to be natural, um um, that kind of performance feeling, no matter how crap the plot is, the actors are always serious about acting realistically, and always. It is a background look with a subtext. This is a stage legend. The actors know this is the stage, and the audience also knows that this is the stage. That kind of uh uh, is the traditional stage tacit understanding, the kind of not participating in the drama, that we all know that this is not the reality of modern movies. This is rather modern.
The word serious is often paired with the word serious. When it comes to bullshit, the effect of seriousness is usually not very good. Liam Neeson's expression is the kind of very subtle avoidance of seriousness. Statham is a small example of the negative. Statham's bitter face is too serious, and it is easy to lead people to doubt whether the so-called expression in the play is related to the actor's natural appearance.
But Statham's commercial films also have an overall atmosphere of drama within a play. This atmosphere is more tailor-made. As long as Statham is always serious, he can become a symbol. The symbol is so light. Naturally, things will gradually drift away and rise in the modern demands of the realistic background, and there will be an aftertaste of the play within the play.
Of course, it is not to say that Statham has no self-consciousness in acting within a play. His consistent expression is itself a conscious symbol creation. What a bummer, his expression and acting skills are not rich enough, and he can say it so freshly. In , these are more difficult to show and require the overall look and feel of multiple films. This kind of evaluation is also related to his level of involvement in the play. This is easier to confirm, that is, serious and serious, but not too deep into the play.
In the real legend theme, being too deep into the play is not necessarily a good thing, and it will arouse the audience's disgust if you are not careful. There is a negative play within a play, that is to say, the actor regards himself as a tough guy, and the macho character is suspected of serving the actor himself. Statham's most tailor-made "The Mechanic" can't find this feeling, he enters the play. , but not into himself.
Examples of too deep into the play, Jiang Wen starred in several movies, Sun Honglei's "Conquer", Feng Xiaogang's "Old Cannon", all have suspicions, the opposite of the play within the play, easy to cause layered thinking, also exists in the actor through the role of the role. Playing yourself, that is not necessarily your real self, there is a sense of skepticism that is pretentious.
It is not only the intention of serving the actor's own star character, but also the natural entry into the play like Statham, which is loved by a large number of audiences. It is also a modern scene. Although not all modern performances, they are all normal. Modern includes traditional performance. . Speaking of natural play, Jackie Chan is more representative. In commercial real-life legendary movies, if you need the same simple tacit understanding as the traditional stage, that kind of simple substitution without looking at the performance itself, there are still a lot of such audience bases.
From the way the tough guy fights back and forth, the earliest self-consciousness in the impression comes from Schwarzenegger, but it is uncertain whether his self-consciousness comes from performance inspection or self-evaluation. There is a movie scene with a sense of the times, Schwarzenegger in a suit, in front of Stallone's movie poster, compared the sense of muscle. The comical connotation of muscles fills most of Schwarzenegger's performances. That is to say, Schwarzenegger knows that he, as an actor, is used to show his muscles. This feeling of knowing often emerges as part of the way of performance, and it appears naturally. There is a lot of free expression that is not involved in the play.
It's an early uh uh, the actors and the audience formed a modern tacit understanding of enlightenment, that is, digging grooves is fierce, but each other knows that this is bullshit, including some fierce eyes, Schwarzenegger also often appears free colors , that is, as an actor, I am acting cool, I feel it, and I also express this feeling; as an audience, do you feel both of these things?
To be more precise, there are some doubts about Schwarzenegger's layered performance. After all, he still has many pure and natural movies. These colors may have something to do with his experience before becoming an actor, and his sense of self-substitution for heroic roles is not so strong. Dwayne Johnson with a similar background, the recognizable feeling of layered performances is not suspicious, but accurate. Although he is in the era of commercial movies, anti-hero feeling has become a trend, but he still has many obvious drifts. The performance does not need to be described carefully, he just made those who Schwarzenegger suspected.
It's funny to describe some actors who rely on muscles, rely on martial arts, and lack acting skills and thus have no ability to fully participate in the play. When it comes to commercial movies, the mainstream big impressions will first think of visual effects, those big scenes and big productions, the subject matter itself does not depend on the realistic background, the actor's acting skills are not high, the so-called anti-hero trend is just some relying on the plot. Civilian habit, not the look of the actor. So on the other hand, commercial films that are generally produced and rely on actors, and modern performances of those plays within plays are also invaluable.
In addition to the negative play-in-play for the actors, the normal and ordinary play-in-play, the legendary story that the actor feels self-judging, the intuitive feeling of watching the movie is just relaxed, there will not be a lot of instant thinking, they are more suitable for willing to watch bullshit Egg stories, but also do not want to have too much sense of stupid substitution, such an audience group, that is, a relaxed state of modernity. Modernity is something simple, a natural scrutiny that arises out of those stories, those thoughts, those old, suspicious feelings, and then examining that scrutiny.
Looking back, there are several types of not participating in the drama. I mentioned Liam Neeson's professional sense of proportion and Schwarzenegger's suspected professional sense, which is one kind. There is also a second type of amateur performance that has an obvious intention to create a relaxed state but cannot be created. This kind of feeling can also appear in the whole behavior of performing and watching movies, and the structural psychology of the play within the play can also appear. The second kind is the opposite of being too deep in the play, which is too shallow, and it is very shocking to be out of the play. A group of actors are jumping up and down, and I don't know if they are acting in a movie or doing some embarrassing reality show.
Speaking of which, it's a delicate thing to ponder the modern, light-hearted tone of those saga stories, down to the scale of performance. Different degrees of non-participation, it is easy to associate the relationship between comedy and comedy. The more obvious the funny attempt caused by the separation, the less the relaxing effect, seems to be the case? The third type of not participating in the drama will immediately overturn the association. The entry into the drama is shallower, so shallow that it takes the initiative to play and express this feeling, but it is a veritable commercial comedy effect.
When Zhou Xingchi was an actor, he pursued acting as a level of performance. The more typical movie scenes, like those with a twist in the tone, haha, the audience laughed first, so there was a comedy with a storyline, and the actors examined the comedy. Comedy, double dramatic effect. As a director, he continued these feelings. "Journey to the West: Conquering the Demons" is an example. At the beginning of the film, the fishermen played by the extra actors by the river, and the Taoists, the whole thing was a carnival. Exaggerated expressions and deliberately prolonged intonation constitute a kind of earthy imitation. While this example is not the subject of a realistic setting, these parody scenes are aimed at reality.
In a trance, it's like a funny and ridiculous imitating amateur performance, the third kind of non-play is imitating the second kind of non-play, of course there is, but more, he is imitating the fourth kind of non-play, which is us I am used to it, not limited to heroic legends, but in many non-serious realistic background movies that record feelings, those real performances, there is not a single bit of serious performance that has been scrutinized by the performance behavior. Habits, the audience trance that can appear, that is, the realistic sense of play.
Going back to the modern drama within a drama (not including amateurs and those who serve the actors), the explanations that can be added are also very simple. They have taken care of the psychological possibility of playing a drama in reality, and not participating in the drama itself is drama, so will be easy. Specific to the relaxed expression, that is, the performing arts, it is not appropriate to attribute it to the acting skills of the actors. The establishment of the overall tone is the result of the joint work of the director and many people, although the acting skills of the actors are indeed very important.
"Cold Blood Pursuit" is a remake. I used this as an example earlier. There are some references for comparison between the two versions. Of course, the standard is as described above. In the original version, the main actors did not make it easy enough, and some details of the overall tone were not easy enough. For example, the background music of the characters who died one after another in the play was not cheerful enough. Although the original version's soundtrack was better, it was too involved in the play; There is also the widow spitting in front of the grave. The original version is not as detailed and vocal as the remake, and it is cadenced, which can cause a short-circuit with the atmosphere of the main plot.
Of course, everyone's standards are different. For example, if you are tired of watching those who are not involved in the drama or appear in the drama, you feel that the atmosphere of the drama is enough to be exciting, and there is no need to divide people. A person's mood at different times, Both are possible. It's also normal. It's normal like a Russian nesting doll. It's good to put those simple and realistic backgrounds into the play and treat them as hidden ones that don't play into the play.
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