The first day of Venice: The surprise economy from Hollywood, terrorist attacks, and the US general election. Although the masters gathered, they still failed to save the popularity of Venice. Compared with the Coen brothers in Berlin and Woody Allen in Cannes, Venice’s "City of Philharmonic" has a slightly lower attendance. However, the two applause at the beginning and the end of the film (see below for the reasons) and the applause at the press conference are all evidence of the victory of the opening film in Venice. So instead of the fans waiting at the door and Zhao Wei's weird attire at the judges' press conference, it might be more meaningful to talk about the movie itself. Damien Chazelle is the youngest director of the three major European film festivals this year, but the theme of "Philharmonic City" is nothing new: the romance of a woman who wants to be an actor and a down-and-out musician , I really sweated for Venice when I watched the synopsis of the plot. Especially after the opening films of the other two major film festivals of the year all use Hollywood and the American film industry as themes or backgrounds. However, from the first second, the film tells everyone who has a prejudice against it (including the author): You are wrong. The opening letter proudly announces that it will be filmed with CinemaScope. This is a kind of photography and projection technology that prevailed in the 1950s and 1960s and used for widescreen. In Dolby Stereo is so popular today, it has been "obsolete" for many generations. This is the first keyword "Nostalgia" in "City of Philharmonic". This old nostalgia is thoroughly implemented in every corner of the script, structure and technology. Without the halo of a celebrity, Chazelle understands that young directors need to capture the audience from the beginning. The first few minutes of "City of Philharmonic", a song and dance in the first few minutes can be said to be extremely exciting. This is a group of young people who are stuck on the highway. Anxious, they suddenly pop out of the car window to sing and dance. The anxiety of life and the power of dreams spew out in the form of metaphors. This is the second clue of the film. What's more commendable is that this scene is almost one-shot, with singing, dancing, performance, setting, and lighting all in one go. The director's scene scheduling is amazing. I'm not sure if the camera uses a hand crank, but even if it uses a stabilizer, there is definitely not the usual push track used in Hollywood. From the form to the content, it breaks the dual stereotype of creation and appreciation. At the press conference, Chazelle said that he liked the coherent shots in classic musicals, unlike the rhythms cut with scissors after the 1990s. Musical films surpass musicals in terms of scheduling and shots, rather than relying on the traditional stage performance and setting to be edited into pieces. After the opening song and dance, there was a little quiet for a few seconds, the title appeared on the screen, and the media was applauded: there was applause within the first ten minutes, which is not something that movies of our age can do casually. Love stories inevitably have some usual ways to go, and new ideas can destroy romance and routines as a whole, and they can also be unconventional in details. Chazelle chose the latter, and the effect is perfect. Of course, the outstanding performances of the two actors are indispensable. If the plot of the protagonist and heroine meets unhappily on the high-speed is a bit vulgar, the camera saves the scene; if the stalk of Xunyin meets the person is nothing new, the hero’s sideways hit and saves the scene. Then came the performance of Commander High from cold to hot but not too hot, and Emma Stone cleverly embedded the daring and daring of a modern woman into the atmosphere of a romantic comedy. The main thread of dreams and love are organically intertwined. Mia (Emma Stone), who dreams of acting in a movie while working in a cafe, has repeatedly failed auditions. With the encouragement of Sebastian (Ryan Gosling), she regains her writing skills for herself Create a script. Sebastian’s own dream is to build a pure jazz bar and save the declining jazz, but in order to realize this dream, he rejoined a band aimed at "modernizing" jazz and achieved commercial success. The detour in the pursuit of dreams caused them to disagree, and the re-bursting of dream sparks brought them together again. The handling and ending of the plot reflects the film's absolute modernity while being nostalgic. In the love of this era, we fully support the Fang realizes his dream; if you have to separate temporarily in order to realize your dream, then walk smartly, work hard, and be worthy of everything you have given up. Only in this way can we face each other frankly when we meet again. Before the end of the film, the director used a dreamlike technique to show us another possibility of the plot, the possibility of a perfect life track, and the possibility of no regrets or sighs. But it's not life, it's not art, it's soap opera. Director Damian Chazelle was born in an intellectual family, his father is French, and a professor at Princeton University. The filmmaker in his early thirties originally wanted to become a musician, but in his own words, he "has no talent in that area." Since childhood, he was fascinated by the king of music and dance films and the French director Jacques De Mie. His first feature film was of this type. But that film failed so thoroughly that when filming "Burst Drummer" (2014), in order to persuade the management, a short film of the same name was first made to prove it. This second feature film won the Sundance first prize and gave J.K. Simmons (he also had a cameo in "Love") an Oscar for best supporting actor, and it also made the young director a hit. However, many film critics, including the author, have quite a bit of remarks about "Burst Drummer", thinking that he was actually only using superb film language to tell a Hollywood vulgar story, and he took the artist's training into the training of athletes. . Thinking about it now, this may also be a type of subversion. But in any case, "City of Philharmonic", a genius work that brought Hollywood music and dance films back to life, is enough to make anyone reconcile with the director. At the press conference, someone asked Chazelle whether the declining musical song and dance film also needs to be "modernized" and filmed more lively like the declining jazz in the film. Chazelle said you were wrong. What you see is that I used modern film technology, made some flying special effects, and did some choreography that could not be done before, but you didn't see that my plot is also modern. , The plight of the hero and heroine is modern. The tradition that Chazelle maintains lies in the restraint in the use of music, singing and dancing. He said: “Sings should not be stuffed in, but should conform to the plot, take advantage of the situation where emotions are reached, and sing.” This is exactly what Demi's song and dance film is about. Essence. Demi, who wanders on the edge of the "New Wave" in France, is the husband of Agnès Varda. This combination is awkward, because Varda is the most difficult and serious even among the directors of the "New Wave". of. Demi's aspiration for Cannes's "The Umbrella of Cherbourg" (1964), if it were placed today, it would never be possible to take off the Palme d'Or. But no one can deny his highest level of integration of song and photography, as well as his observation of the social process under the beautiful sound and picture. As far as the previous point is concerned, the sand Zeller awkwardly switched the song between the background music and the plot music, and the technique was still lost to the master; but as far as the latter point is concerned, he is the best representative of our time in observing the society with music and dance films. I remember that one year in Paris, an independent art theater played "The Umbrellas of Cherbourg", and I dropped by. There were several well-dressed elderly people in the audience, women with red lips and elegant attire, men in suits and leather shoes, all resembling characters from old movies. Such a scene is like Chazelle's interpretation of a musical film: this film type truly "opens the boundary between dream and reality." In the era of "Sur", women were only choosing between marrying this man or waiting for that man. What Chazelle wants is modern love. Both sides face the pressure of career and dream ambition. If the music film belongs to the past, then it belongs to the era when everyone is chasing dreams. The recurring song "City of Stars" in the film alludes to the glitzy and ruinous Los Angeles, but it is also a dream of starry beauty and limitlessness. The director said that "City of Philharmonic" is dedicated to all dreamers and to emotions, because emotions can transcend stereotypes and dreams can save reality. Maybe next year’s Oscar will be the moment when Chazelle’s dream comes true. It’s just a pity on this journey. We can only guess between music and light and shadow. (This article was first published on the WeChat official account of Sanlian Life Weekly, and it was reprinted strictly without authorization.) "Weekly" WeChat public account, rigorously reprinted without authorization. ) "Weekly" WeChat public account, rigorously reprinted without authorization. )
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