Seeing that the very apartment was transferred from the comment area of Wicker Park, I realized that the latter is a remake. The comments have turned a few pages, but they are basically inferior to the original voice. The main attack points are the male protagonist and the ending - I agree with both, but Diane Kruger's face and Rose Byren's acting skills in the wicker can always be broken. city? Of course, this comparison is also too trivial. When one spreads reality to you and the other sells fairy tales to you, you see, the two are clearly not playing the same card.
Perhaps for the prince-princess-style reunion at the end, the wicker can basically feel a twist in the two hours. After all, there is a main-line movie, and the plot is better to serve it - no matter how many twists and turns the hero and heroine encounter before they meet, as long as they ensure the feelings from the beginning to the end, break through the iron shoes, and read through thousands of sails, for the sake of reunion, there is nothing The technical action adds emotional weight as the finale—the standard love paradigm. There is L'Apartment's quirky plot first, and the two sides are compared, and it is inevitable that some people will complain about the "Hollywood-style happy ending".
Sometimes I think, it’s just a plot, the screenwriter’s pen can turn the fate over and over again, and the audience can’t laugh at it, and why, the stories we see, most of them can’t escape their specific paradigms? Of course, there should be no rejection of the so-called "paradigm". The formula of universal gravitation is a paradigm, and the golden ratio is a paradigm. It is a concise and powerful interpretation of truth and essence that has influenced thousands of years since ancient Greece, and it has a classic beauty in itself. Geniuses, great people, giants, writers, playwrights, painters, musicians... Again and again, in the question of the meaning of love in time, space and even beyond the two, they created, repeated Solidifying all kinds of paradigms about love - they organically select the decent, elegant or soul-stirring typical of the connection with other noble qualities and emotions in human consciousness, and rub the seeds between sorrow and joy. The power of viewers to move, this is their ability. On the contrary, it has entered reality, and love is just one of the things that continue to be born and die with the constant birth and death in our three-dimensional world. After so many reincarnations, there is no kind of love that can be called unique. Coupled with the lack of focus in that circle of lenses - I say, very few people in life watch every subtle movement with long shots, frontal side shots, or automatic filters... In contrast, natural Much rougher. But you say, isn't the wonder of love being nurtured and bombarded in turns, how toss and turn on paper and on the screen, and how meticulous and meticulous it is, people are no longer surprised, but when it falls into reality, no matter how rough and plain it is, it can be intoxicating? Who can complain that their love sucks? All beings are framed under the lens of God. At this time, there is no primary and secondary. All are the subject, and the subject has been weakened into a rough running trajectory, but you say, there are no twists and turns in this shot to tell the story. ?
I think this is the different intentions of the two films in the interpretation of love.
Under different attempts, wp was layered upon layers of enhancement and rendering, so Matt thought that Lisa had left, and when he cried bitterly on the bed, there were streamers of contrasting lights on both sides; when Alex revealed his true face, he deliberately flashed the makeup scene; In la, Alex has more details outside the video store... Later, I specifically looked back at the beginning, and I couldn't help but feel sorry for those flashing backs. When we are accustomed to following the camera and dazzling things, we gradually lose our understanding and interest in the situation behind Mount Tai. The lack of such a perspective is more than a regret for the richness of a story, just that.
And la chooses to lighten the lens, so that you can hardly catch the traces of the emergence and disappearance of a little love, and it is even difficult to define whether this is what it is. Love under this uncertainty is absurd like a four-day dream, the timetable is turned to the return flight to Tokyo four days ago, the lover who is talking about marriage comes to pick up the man home without knowing the truth, and more It's like the days of picking up a person and returning to reality from fantasy. La shows another ordinary appearance of love. There is no love like Jin Jian and eachother, there is no consonance, the marriage is destined, and there is no happy ending for a prince and a princess. It is on the back of Mount Tai, possessive, selfish, and vulnerable. Temptation, volatile original intention. At the end, Max looked back at Alex with his fiancée in his arms, and Alex looked back at his smile. Lisa returned to the apartment and saw the white roses covered in dew, smiling at Daniel with relief...their What were you thinking about? In fact, from another angle, it is easy to understand. An affair, a person who can't be chased and a fiancée, who would you choose between the three? The lover you got by living in lies and disguise, will you have the confidence to hug him and walk all the way? The ending in la is a very normal choice. As for Lisa and Daniel, it is another form of love, one is at ease, the other is paranoid. Each has its own cause and effect. It may be that the real innocent is Lucy. Fortunately, there is not much to lose. Today, I can use a drink to relieve my worries, and I can cheer up tomorrow. Laugh~
Love can look like thousands of different perspectives. This is the end of the discussion between wicker park and L'Apartment.
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