The real artist is the gang killer, he understands life, he understands the language of life, he understands the inner thoughts of the characters, high emotional intelligence, and high IQ, he is cruel, but he has never killed a person who shouldn’t be killed, his obsession, It is even more impressive. This is a perfect killer, and I believe he is also very artistic in killing people. He had no ambitions for art, but once he started to do something, he was very specific, and eventually killed Oliver, an art destroyer, and ruined his life.
Old actors and actresses are very distinctive. Actress Helen has the spirit and spirit, she is always acting, alive and well with the rebirth of a streetcar heroine named Desire, but she is more powerful and ego. His arrogance is also more prominent. In addition to being gentle in front of the old artist, she is more of a role as a strong woman. The old actor Purcell is more interesting. The main focus of the film is his binge eating disorder. Another gang boss, Olivier, the mistress, is very comedy. She likes the feeling of being famous in the performance, and she doesn't know anything about art. The underground love between the two of them is also very comedy, but there are too many branches, and it feels like we can cut some more.
Woody Allen took the route of a genre film. Several characters gathered to complete a task. Finally, when the task was completed, the role was changed. There are running-in and conflicts between several characters. Under this type, the director is not focused on the running-in of the characters to achieve a goal, but on the choice of the protagonist of a certain character, that is, how the director of the show, how to create, how to find himself, the killer of the show, How to kill, how to be killed. So whether it is the director or the killer, what the director and Helen discuss together is drama, and the director's love is second.
Director David's last love change also conforms to Woody Allen's usual habit of using love as a metaphor for the settlement of intellectuals. This time, the director is not in love with a romantic old actor, but a middle-class woman.
The sense of tragedy in this movie is not very strong. It is more a mockery of intellectuals and a mockery of Hollywood capitalism's crushing of drama. In my ranking, this movie should rank behind "Consandra's Dream". The conflict in the latter movie is very intense, and it is more about showing the characters’ hearts fully. This movie is still rather comical and not serious enough. The transformation of the characters is conceptual, not inner, which is like a killer. What I said is too conceptual and not enough for daily life. And it is not focused enough, there are too many contradictions, too many things on the surface obscure the real theme of the film.
The theme of this film is cruel. Can we kill people for the sake of art? To what extent should we compromise? The director's decision was that he should not kill, and the other "shadow director" believed that he should kill. This inner moral conflict was completely resolved in a billiard room scene. But this process should be more profound, just like in "Sin and Wrong" and "Cassandra's Dream", the plot focuses more on the two contrasting people. The two people in this show are not enough, the life of the killer is too little, and although there are many artists, they are also occupied by other things. The three actors and other friends who surround the director are very interesting. They show the life of the intellectual class, but this part is too much.
For art, for ambition, for reputation, for freedom, what can we do? To what extent? Do we really love art? Can we really not be moral? Woody Allen has another interesting exploration.
The film was in 1994. It is said that many good films were born that year, and this one cannot be forgotten.
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