Introduction: The man who dies to death on the
streets of New York, black and white video, in David Bowie's "Modern Love", the tall and sturdy Frances runs on the street, occasionally turning a few times, and there is no one else. This is New York. She is a poor man and a poor art practitioner in New York. One identity is more miserable than the other. But the saddest thing is her mediocrity.
After watching this movie for the first time, another friend who happened to see this movie said: "The heroine is really like you." In the words, my impression is really like me. Similar to the mantra of "Sorry", he is slow to fashionable electronic products, dislikes animals, is out of place in various circles, cramped and careless in interpersonal relationships, and is even clumsy enough to pretend to be interested in others.
So I thought, a life without troubles, ordinary personality, nothing to say from appearance to talent, that is, a life with few drama conflicts, if it is made into a movie, how can it be like "Frances· Like Frances Ha (2012), how playful and interesting?
"Francis Ha" poster
I guess, first of all, a decent sense of lightness. Whether it is the selection of life fragments or music, it must be full of fun. This reminds me of the question about why this movie was made into black and white. In fact, to some extent, black and white films are much lighter than color films, because the viewer’s attention will not be distracted by the colorful colors. You need to pay attention. Yes, only people. For this movie that focuses on the state of the characters, it is very suitable.
The movie opens with a series of lively cuts in the music named "Camille" (meaning independent individuality)-dancing and running on the street, chatting between waiting for the subway, cooking, washing, playing chess, drinking, Smoking...shows the living conditions of Frances and her friend Sophie, two young unmarried women, tacitly and comfortable.
A series of shots of two people's living conditions, and both of them are in the same frame.
This whole paragraph of pleasant foreshadowing contrasts with her later embarrassment in various interpersonal relationships.
The scene switches to Frances and her boyfriend being together, the two tentatively test each other, the atmosphere becomes low but funny
The second is fragmentation, including fragmentation (or point-like distribution) of shots, language information, and scenes. In the smaller part of 86 minutes, the audience follows Francis's migration and sees her shuttle among all kinds of people, friends, lovers, family members, friends of friends, and colleagues. The information is rich, but most of them are daily clips ( That is to say, the repetition of certain scenes, such as parties. Thanks to the compact editing and short scene length, people are neither boring, but also in the repetition, feel the changes of Frances (from the initial effort to integrate, to Later, I didn't care about it).
In party scenes, Frances is often at the back of the picture, and there is almost no subjective mirror of her
Then there is the spirit of self-deprecating. Don't play up the sentimental, warmth, or even the emotions of the moment of flirting. Whenever it appears, it is interrupted by the frustrated jump shot editing. This makes Frances, whose life is unsatisfactory, no time to blame herself, instead she is full of jokes.
The previous picture shows how busy Frances is rendering herself and unable to attend the party. The next picture
In fact, the advantage of this film lies in its grasp of the status of the characters, that is, there is no center of gravity in life, so that it presents a kind of instability. In various scenes, she is usually framed with others, turned into opposition to other characters (playing front and back), and finally showing loneliness. If I recognize the state of human beings as eternal, it must be loneliness. Going around, from possession to loss, and ultimately still lonely.
A moment ago, she was like a host to send off the guests. (Painted with Benji and Lev)
The next moment she stood opposite the two of them, and the position of the guest/host was distinct
But Francis's incompatibility is that she can't accept herself comfortably, such as unknowingly growing age, such as limited talent. I remember Liu Yu said something like this: You have a good set of cards in your hand, but you know that it is not the best card, and it is a pity that you have not done it.
A little talent will lead you to reverie beyond your own ability and fight for it, but in the end you have to admit that people are born with unequal talents. If there is a misalignment between ideals and abilities, then it will inevitably be lost, and the so-called success will be nothing.
In the movie, there is only one scene in which Frances dances on the stage, and it is not amazing. She is tall, tight and clumsy. (In fact, compared to the stage, it seems that the outdoor streets and squares are the stage where she can relax. The director consciously omitted the content of Francis’ pastimes: such as the music in the headphones and the content of watching movies, which can be regarded as her In fact, you can't really enjoy the state of pastime, because the audience can't feel it either). When her ideals conflict with the reality of limited ability, how can she accept this fact? The movie shows this process.
The performance on the stage is actually not wonderful
After the performance, standing alone next to the stage is closer to her true state at the moment.
At the end of the film, Frances accepted a job that was contrary to professional ideals, and was still alone, but in a gentle and relaxed state. As Dickens said: "Like an oyster, mysterious, self-sufficient, and lonely". This is not the best state of life, but it is the result of sincerely accepting oneself. Accept yourself, accept the changes around you, and live hard.
After watching "ordinary people" projecting "ordinary" on the movie, I think that anyone who wants to turn his life into a movie, the first thing to do is to accept his original face, and then tailor his clothes, don’t think about sublimation deliberately, then He was about half done.
(Just the last sentence, dedicated to domestic movies. Well, I made the mistake of sublimating the theme myself.)
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