Brush [Deconstruct Love Madness] again, and have some ideas. This work that once made Penelope Cruz "falling to the floor with a laugh" may be Woody Allen's largest work. There are many reasons for this. For example, this is the only time I have a long dew point shot in a WA movie in my impression. I can't say that this impression is the most accurate, but it is more certain that even if there are other works, it will not be like this hell scene. many. Followed by lines with a larger scale. We know that whether it is WA’s earlier or later works, content taboos have not been a problem, but even the explicit titles such as [Sex Collection] are not so straightforward. The appearance of a large number of words starting with F like this one is really rare in WA's works. Of course, the words are nothing but appearances. The most important thing is the world-weariness hidden behind witticism and imagination. After thinking about it carefully, after laughing, we have a clearer experience of a completely negative and distorted real world. And what is the coldest feeling? It was all that happened that wouldn't break Harry, he didn't care about anything anymore. If it is said that in the [Manhattan] period, WA still had the expectation of "a little confidence in others", then it is completely anti-humanity here.
In a sense, this is just like the second edition of [Stardust Past], the sense of ridicule has suddenly diminished, and the taste of nothingness has increased sharply. Especially when comparing the endings of the two films, it is obvious that the sadness of the first one is completely romantic, while the protagonist of the latter seems pitiful or even bleak. So I guess this work is probably the product of WA's most stressful and darkest period in his career. It does not necessarily refer to the period of filming, but it is certain that he must be hopeless and helpless during the period when he had this idea in his mind (plus he is an atheist who has nowhere to trust his faith). Maybe it was the break with Mia in the early nineties, the lawsuit, the new round of impact of American movies in the nineties, the fight against inspiration...Of course, this is just speculation. But it doesn't matter anymore. After all, he made the movie, and he survived that period.
Let's talk about the movie itself. WA's parody has always been the top in the industry, almost reaching the level of falsehood. I used to think he was like a superb counterfeit maker, but recently I think he is more like a jazz player (he is a great clarinet player himself). Recently, I also feel more and more that (if you use music as an analogy) great film directors should be great performers, not great composers. In contrast, a good film actor should be a musical instrument, a chess piece of the director (Bresson is an extreme), and should not have too much autonomy. The "core" of those masterpieces of movies is equivalent to the standard music of jazz. WA grasped the core of many masterpieces, and then blended into his own style, which gave birth to his classics. (The more representative ones: [八部半] and [星尘前事], [大路] and [甜蜜和慶無]) The phrase "copy the best if you want to copy" in [QiZhou Make it out] is also used a lot People copied it. Those who were imitated by him were surpassed by him at least in terms of appreciation. The structure of this film draws on [Wild Strawberry], and the imagination is comparable to [The Phantom of Freedom]. It can be said that WA has set another new high after the long-lasting peak period in the 1980s. Of course, the characteristics of WA's strong content make people always ignore the scheduling skills he has entered into the realm. By the way, the first thing that reminds people of this form is a parody of Godard. The opening is kind of inexplicable several jumps and cuts, and the playback is like a provocation. It is particularly enjoyable to watch. Looking at the [Lear King] and that interview together (hehe), I think all this is not groundless.
I thought of so much for the time being.
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