Kusturica's movies are very emotional, and the end of the madness is always exhausting. The reasons are:
1: Use of multi-channel.
In the movie theater, due to the surround of Dolby sound, the omni-directional three-dimensional sense of space can bring the audience a sense of immersion in it. This is the setting of external technology, and in the movie, how to create through the two-dimensional picture The three-dimensional sense of space is a technical activity. There are at least two actions happening at the same time in the lens, and there are at least two sound sources. These two actions are sometimes within the frame at the same time, sometimes one is within the frame, and the other is painting. Outside the frame, for example, at the beginning, the close-up shot is aimed at Depp and Paul on the bar counter, they are talking, and outside the frame, there is Kusturica’s standard music, and there is also a man calling loudly. , The three sounds were mixed together, which made people feel very noisy (a compliment). Next, the two of them were riding in the street. The camera was aimed at Depp, who was swaying to sleep, but outside the frame, there was still There are endless police sirens and Kusturica’s standard music. Of course, the lens is not fixed on Depp’s face, but shakes quickly, showing New York at a very fast speed. The feasting and feasting of the night, this setting is Kusturica’s usual means to keep the whole movie alive and lively. In fact, this is also the normal state of our daily life. I sit in front of the computer and type, and there is the sound of my brother playing games next to me. , There is the sound of birds singing on the big tree outside the window, the sound of horns from the uncle who sells watermelon on the road, and the sound of cars passing by. This is the lively and vitality of daily life, how to restore reality in the movie In a three-dimensional, complete, three-dimensional world in life, sound plays a very important role. Sound can penetrate space and give people a very strong sense of orientation. At the same time, most importantly, maintain vitality.
2: Extensive use of depth-of-field lenses.
The use of a depth-of-field lens allows the audience to see a richer and complete picture, including the foreground, middle and background scenes, which can be seen clearly, thus giving the audience more choices, whichever is willing to watch, such as In the foreground, two characters are sitting and talking. In the background not far away, an uncle is lying on a chair and slumbering, or a character in the foreground is sleeping, and in the background two women are arguing constantly. Different scenes are not unrelated. Kusturica will connect their actions, which creates freshness and uncertainty. For example, the person sitting in the foreground goes out to the two who will fight in the background. Separate, this is still very consistent with the expression of daily life. For example, I watched TV on the sofa upstairs, and my mother sat on the sofa downstairs to watch TV. Then she told me to go down, so I hurried downstairs, so that we both There was a connection. We can stand outside my house and show the whole event with a big panorama. According to me, this is a disguised use of Eisenstein’s "rational montage". The rational montage means that one lens and another lens will produce a new meaning, a new thought, and this new thought is completely different from the original two. One shot, that is, 1+1>2, we might as well think that the event in the foreground is the same meaning, and the event in the background is the same. When the two are connected, it will produce a direction in a direction we don’t know. The new meaning causes the uncertainty of the picture. Or, to put it another way, like permutation and combination, the constant combination of characters or props between different scenes in the picture will produce countless interesting results.
3: Repeatability of behaviors, events, and props.
In the film, an elderly band will appear unpreparedly, appearing for no reason. This reminds me of the end of Fellini’s "Night of Kabylia", when Kabylia is walking in the air. On the forest path with no one, a young band who did not know where it came from ate and sang beside her. This surreal setting made the dead-hearted Kabylia rejuvenated with optimism and charm. In the same way, in "Arizona Dream", a band often appears when the plot is particularly happy. For example, when Uncle Leo was about to get married, the band appeared outside the fence of the yard. Depp and Elena quarreled wildly in the house. The two scuffled together. The sound of the accordion band came from outside the window. Through the window, he found that it was the old man before. The band, at the end of the film, they also appeared on the street. In the animated short film "Maniwald", there was also a band. The band that appeared for no reason can be regarded as the protagonist’s inner love for freedom. Yearning, in addition to the band, there are also a series of props such as accordion, gun, flying fish, Eskimo, tortoise, black pig and so on. Their functions include: first, to express the inner feelings of the characters, second, metaphor, third , To pave the way for the plot. Fourth, the beginning and end echoes. In Kusturica’s movies, there are very few things that will never appear again after appearing once, even the one in "Black Cat and White Cat" that eats wagons. The pig appeared several times. Although it was useless, by the way, a little black pig appeared in "Arizona Dream". It still appeared on the streets of the city. The effect, of course, was magic realism. . The repetitive behavior of the characters is the result of externalizing the motivations and desires of the characters. For example, Paul, as a crazy movie fan, always confuses reality with movies. The most funny passage is to perform Hitchcock's "Northwestern Northwest" on stage. The "Quick Hunting" paragraph in "Beyond North". This paragraph is really funny.
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