But the brass soundtrack in this movie is long, monotonous and gloomy, creating an almost unbearable auditory pressure. I don’t think I realized this when I watched the bad version before (maybe it was too small at the time). Last Christmas Eve, I suddenly felt that the D9 version of the vampire I bought a while ago was very suitable. really. I heard something that I couldn't perceive before.
The little boy, who never understood his identity and whereabouts, played the violin and faced the black coffin. The sound of the piano was stubborn and broken, making it nervous. Just a few incoherent syllables. It's really inexplicable. This hoarse and monotonous repetition of high pitches connects gloom and melancholy.
Adjani is like a beauty who walks out of a painting. I always amazed that her neuroticism is always so natural. The makeup of this movie in 1979 already shows the visual inertia of Gothic and his friends. The reaction on the face of Earl Dracula is not unusual, but the reaction on the face of Ajani will be exceptional. The beauty is astounding. There was a pain in her dark eyes for the unknowable evil, and a certain kind of madness that confused the border between pure chastity and sexy. I am a true fan of Adjani. Compared with the neurotic and complex heroines in many French reality-themed films portrayed in her middle age, the image in this cult film is particularly prominent, which can erase the sense of age, makeup and clothing. It also completely assisted her madness. But when the plague is overwhelming and the city dwellers are crazy, the film makes her sober and firm come out like a relief, becoming a bright spot in the crowd and the empty city.
The makeup of vampires is also very successful. I remember a magazine text describing that his front teeth were sharp and turned out (in fact, the vampire fangs in this version are in the front teeth, which are different from the thin fangs in the canine teeth in the movies after the 1980s. Vampire logo), disgusting withered fingers, and a pair of large ears that seem to have been gnawed by a mouse. None of this is as important as light and shadow. Unlike Lucy, played by Ajani, Lucy is always exposed to sufficient light, making her beauty overflowing all over her body and almost transparent. Her skirts will float with the sea breeze, and be covered by the haze of the distant sky. Incorporate into a classic oil painting-like composition. But Dracula is different. He only has his face that can carry the light needed for photography. He can only be presented with a certain dissolved texture in the black robe and the night cloak. The director has made his long nails and The bald head became a terrible shadow on the wall, and every time it happened to use the sense of distance everywhere, creating an exaggerated and appropriate shadow. The clean lines and shadows are as sharp as woodcut paintings.
I think this is really a pure vampire movie. Unlike the later ones, who are both heirs and separation of love and hatred, they added more plot factors to "humanize" the vampire. Moreover, the shooting is so beautiful, the sailboats carrying the black coffins are extremely beautiful, the bright and quiet life in a small French town, the slow motion of the deep bats flying, the plateau, the deep valley, the waterfall, the sea, the ruins, and the rows of black The tender yellow coffin lifted out of the suit forms a weird picture on the gravel road square in front of the church. . .
The connotation itself does not need to be chattered by the protagonist, because the movie itself cannot be just a story, and the movie must have the ability to act as another world in the legend.
It's very enjoyable to watch vampires on Christmas Eve. When Lucy refused the vampire, she said, "My love is not even given to God, why should I give it to you."
Allow me, a passerby who didn't go to church, to watch the blood-sucking classics on Christmas Eve. I think it reminds people of church, God, and blessings more than the Christmas scene.
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