The reason for this conclusion is that Arriaga's screenwriters are all based on this routine, "Love is a bitch", "21 grams", "Tongtian Pagoda", a post-modern text structure method, from multiple angles at the same time To show one thing to obtain an overall effect of universality and transcendence is a variation of the ring narrative that has been popular since "Pulp Fiction". When I first saw "Love is a bitch", I still thought it was acceptable, but it was no longer as amazing as Quentin back then. However, after seeing it, I began to feel fatigued, especially when "Crash" won the Oscar for Best Picture, and After the canonization of this narrative, I saw this narrative structure again and I started to dislike it. An hour before "Three Funerals in Escada", I really had the urge to turn off the TV several times, but I still tolerated it. After watching it, I was moved by the next hour and I fell in love with this film.
The structure of "The Three Funerals of Escada" is very strange. The first hour is Arriaga's usual three-phase intertwined narrative about the investigation of Estrada's death, and the next hour is changed back to a single-line narrative. So the film peculiarly changed from a detective film to a western film. Really orz. And the most moving power of this film comes from the one-hour journey of promise, which is also a journey of redemption. So we saw that the amiable old cowboy played by the director himself showed a fierce face, and he was almost paranoid and stepped onto the long sand in order to fulfill his promise to his friends. However, this is not a typical Western film. Although it has various elements of Western films, when American society does not need Western films to construct the other and integrate national psychology, such as "The Three Funerals of Escada" The westerns presented in this way are more worthy of attention, as if they are echoes. The long-lost westerns are resurrected in the hands of Jimmy Lee Jones. This is a film about friendship and promises, but it seems destined to be the last of the film. The kernel is also deconstructed. The old cowboy went through hardships. After escaping from the police, he found the Mexican hometown described by his friend, but found that this place did not exist at all, and the family repeatedly mentioned by Estrada turned out to be a fiction. His persistence and sacrifice for "friendship" was momentarily meaningless, but he still gave the action his own meaning, named his friend's "hometown", and made the policeman who killed the friend repent. This is the original intention of his action because of a promise. However, after discovering the truth, he still insisted on doing so. Or he needs a meaning to prove the value of his actions, or he can't accept the reality, so he found an outlet for himself-like the embarrassing situation of the western movie itself. What should we do when the meaning does not exist?
So we walked all the way and stopped to take a look at the scenery. The next hour left me staring at the beautiful deserts and valleys of Texas and Mexico. Although the friendship was not so deep, the old cowboy’s persistence touched me again and again. It was the power of promise, so as to be just a Spanish-speaking smuggler. The friendship was nothing more than riding fishing and recruiting prostitutes (forgive me) , I now see two old men dressed as cowboys fishing and riding together, and I think of Brokeback Mountain...), I have been thinking about the behavior motives of the old cowboy. However, the theme of the film is not redemption. The impotent young man who killed Estrada by mistake is no different from the props. However, it is now their world. Those cowboys are like Estrada’s homeland, only existing in legends and I can imagine it. Perhaps what Jimmy Lee Jones wants to accomplish is a pilgrimage and return to Westerns.
http://www.mtime.com/my/yinxiang/blog/308099/
View more about The Three Burials of Melquiades Estrada reviews
