Sophia Coppola, a minimalist abstract artist, a female director who has only shot 4 feature films in her 40s. Last fall, she became the first American female director to win the Golden Lion. Andrew O'Hehir of "Salon.com" said, "This is a fascinating, thought-provoking work of craftsmanship. Compared to her father, Sophia has gone farther in the pioneering field of film. "Somewhere" is transparent to Antonio The temperament of Ninety’s and Bertolucci’s films is a turnaround from Hollywood movies.” Conversely, Rex Reed of “New York Observer” said, ““Somewhere” is no less conceited than “Queens” It’s no less dull than "Lost in Tokyo." Whether it’s the booing of film critics or Quentin’s ostentation, praise and coldness linger in this film with Chateau Marmont as the envelope. Relatively speaking, the author agrees with Kenneth Turan, a full-time film critic of the Los Angeles Times, "Compared with the story of the film, "Somewhere" is powerful in its atmosphere creation and visual depiction. "
inner landscape
at an angle on the author's talk," somewhere "where the protagonist Johnny Marco and" Lost in Translation "where the protagonist Bob, and there are many places a similar story. First of all, they are all elite figures in their respective circles—Hollywood superstars & advertising tycoons. Secondly, there is a certain invisible emptiness and loneliness in their hearts. Solitude is the core theme of these two films. Again, they are all going on their life journeys in the film. Adult dislocation (adult dislocation) and free-floating ennui (free-floating ennui) is a common author strategy of Sophia movies.
The movie comes up as a long shot with a fixed camera position. The male protagonist is driving a black Ferrari, spinning round and round in the camera. The audience consciously began to expect, when will this car stop? Will there be accidents when driving out of the framed car? As a result, the car stopped safely in the center of the frame, the hero got off the car, and the film began. This opening scene filled with the screen by the roar of the motor suddenly set the protagonist's inner mood-sleepy and restless.
Immediately afterwards, Sophia used a series of pros and cons to strengthen the actor's disinterestedness-the actor's eyelids completely ignored the twin dancers' pole dancing ("Playboy" models Kristina and Karissa Shannon), and actually started a fight. ". In the first 20 minutes of the film, there is almost no dialogue.
Sofia and her photographer Harris Savides often create "extended shots" in the film to challenge the audience's viewing habits. In Sophia’s own words, “For such a long, dialogue-free performance, the camera is aimed at the actors to allow the audience to enter the private space of the characters. The audience can see what they have never seen before, a Hollywood star’s The other side.” Therefore, movies often have long shots of more than 45 seconds. It is worth mentioning that the other Hollywood stars appearing in the film are all played by their real names or in their true colors. The encounter between the hero and Benicio del Toro’s elevator is a footnote.
What's more, Sophia made a deep criticism of the actor's instrumentality-materialization. After several hours of special effects processing, the actor's face was heavily filled with a plaster-like substance. The magic on the screen is so boring in reality. Set becomes the male protagonist of a mask model, and everything in the camera is a mirror image. The person in the mirror is just a pale old man with old spots on his face. The male protagonist seems to passively see his future in the mirror.
Moreover, the film does not explain the actor's past at all. There is no flashback, no record, the actor seems to be living in that luxurious hotel in a vacuum. Endless pole dancing, endless press conferences, endless scripts, endless throws and hugs, for him, sleep is his only companion. He can even fall asleep during sex. However, the arrival of his daughter changed the rhythm of his life. He watched her dance ballet on ice, he played video games with her (guitar, tennis), he played table tennis with her, she made breakfast for him, etc. The father and daughter comforted each other calmly. To be more thorough, the father and daughter in the film have not grown up in the true sense. This journey also symbolizes the spiritual growth of the two.
Regardless of fame or a woman, for the male protagonist, he doesn't know what kind of life he really wants. Sophia suppressed all the emotions of the characters at the last moment. On the road, the daughter finally vented her emotions in her father's Ferrari sports car. She asked her father, "Mother said she was away for a while. She didn't say how long she was away, and she didn't say whether she would come back." In this sense, both father and daughter are going through this journey, knowing or not. Self-knowingly seek out the focus of your own life.
Sophia tried to expose the "inner scenery" of a big Hollywood star to the audience through countless, somewhat lengthy objective shots. She didn't expect that the confusion of the high-ranking gold-collar was indigestible to ordinary moviegoers.
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