Lao Mouzi said that he specially arranged for Takeshi Kaneshiro (or Andy Lau, I can't remember exactly) that the character always eats peanuts (or melon seeds), because they both wear the same uniform, so that foreign audiences can't tell who is who. Quite proud of it.
I am happy.
"Make a movie for yourself to watch" is of course a rhetoric in the late middle and second stage of the middle school - if this is the case, you can pull a projector in your living room and put it on it, so why bother to go to the theater and all kinds of propaganda to call the audience? However, if they tried their best to try to please the cattle of Aunt Zhang's house, the third household in Shili Street, Niujiatun, it would be completely boring.
The interesting thing in the world is in the word "degree". Losing an inch over a loss is less meaningful.
As for the national teacher, there is too little trust in the IQ of the audience. As for Director Hou, he went to the other extreme, relying too much on mortal bosom friends.
There is no frontal close-up in the whole film of Mistress, and she has not taken off her mask as an assassin. You know how tangled I am as a face-blind person facing that half of my face, how many times I thought it was a phantom summoned by a spell!
It should be halfway through the film, and I got the last straw of the character relationship line from the sentence "uncle". Finally, I am worthy of the language teacher and the Virgo who sleeps in the deep corner of my heart. But the subtitles are given to mon oncle. . . Therefore, the French audience who watched the film together, until the ending song sounded, was still in the middle of power.
Fortunately, French audiences are French audiences. After all, what is the relationship between the characters is not so important to this story of "widowhood enlightenment".
Well, this audience, you are actually a judge at Cannes.
As a serious and responsible audience, I naturally smoothed the original work in advance. I don't want the legendary Nie Yinniang and the movie Nie Yinniang to be two people. The biggest difference is that the movie Nie Yinniang rides a horse, while the legendary Nie Yinniang rides a white donkey. In Chinese stories, knights ride horses and earth immortals ride donkeys. Riding a horse to seek government in the DPRK, riding a donkey in the wild path. The former is accompanied by a sword, the latter is alone
Therefore, it is said that the relationship between the characters is not important, and the foreigners are a group of uncles who can't understand.
On the way, two spectators left. I guess they should have never experienced Hou Hsiao-hsien before. Anyone who has experienced Hou Dao knows that, watching his masterpiece, sleeping or not sleeping, the answer to this question only varies from person to person (audience), never from the film (of his films).
When I was studying, my friends who were pretending to be in the Mood for Love liked to compare Director Hou and Tsai Mingliang, whoever was more hypnotizing, and whoever was more hypnotized would claim that they liked who they watched more. At the time, the two were still inseparable. Later, Director Cai rode a donkey with Juechen. As for Director Hou, when he filmed "Millennium Mambo", he really wanted to ride a horse.
The baby was not happy then.
Because I like "Flowers on the Sea" (strongly recommended to the drowsy audience watching this film, as a magic remedy for insomnia). In just one brothel, two or three prostitutes and their clients, talking idle talk in a south-north tone, dangling in the long shots, the light was dark and yellow, nothing major, and it didn't look like a major event was going to happen.
Just because the pictures are beautiful and there are so many stars, I didn't go over after five minutes of masturbation. Looking down, I was sucked in. Like being sucked into a time machine. Because of being sophisticated, being slow, having nothing to do, and being idle, a second in the movie is a second in reality. What the characters show is not a developmental contradiction, but a stable state.
In such a crowded time and space, through the state of such three or two characters, people can glimpse a real corner of the society at that time and enter another time and space in person. It's like looking at Vermeer's paintings.
This kind of painting is not suitable for a clear plot. Very very very inappropriate. Once there is a big conflict between the characters, it destroys the harmony between the external environment and the individual's small state that draws and expresses each other. The story between the characters has changed the main line, the development of the plot has replaced the state of the characters and become the focus, the structure collapsed and it is not beautiful.
Moreover, Director Hou is really not good at making stories. Once he puts his strength on it, apart from art, there is really nothing to look at.
This film finally gave up telling stories, Ami Tofu. Although the relationship between the characters is a feather in the ground, but if you don't put your strength to talk about it, it doesn't appear to be important, preventing the center of gravity from deviating from the feather. Above the hall, outside the rivers and lakes, the colors of the two roads are contrasted, and the indoor and outdoor scenery is photographed, and the state comes out.
But Director Hou, don't think of yourself as Hu Jinquan's ambassador. Luan Jing's line is really superfluous (the subtitles are very powerful, they are actually translated into oiseau bleu). I'll go back and forth. The whole film is like this, do you really care if the audience understands the Tao? Feel free to go.
In addition, whoever thinks the half-literate ghost idea, come out and let's fight! If you think about God like this, why don't you follow the example of "Revelation" and ask all the actors to speak Tang Yun, the Jingshi's with a Shaanxi accent, and Wei Bo's with a Hebei accent, so that audiences from any country can watch the subtitles throughout the whole process. If you can really do this, I will admire it, the kind that throws all your body on the ground.
This kind of thing, if you want to do it, just do it, or don't do it at all. Halfway through, it's just a gimmick, except that it affects the conveyance of the meaning (it's really easy to say it with Taipu! I don't understand French subtitles and I can't understand what they're saying), nothing else. worked.
PS: There is Ethan Ruan in the final credit list! Where is Ethan Ruan?
View more about The Assassin reviews
