The most adrenaline-burning movie of the summer is here-"The God of Cars"!
Don’t be misled by its translation. The original name of the film "Baby Driver" should be translated into "an old driver called a baby". It is directed by the British ghost director Edgar Wright. There are still worlds of difference between the "extreme" generation of brainless films such as Agent, "Ultimate Thief", "Top of the Speed", and "Speed Drift".
First, let's take a look at Wright, the "non-mainstream" director. Because of his long-term production of B-level films with a quirky style but a limited audience, he is relatively small among movie fans.
Wright is a standard geek-type director. He grew up watching Shaw Brothers martial arts and Hollywood golden age musicals. He knew both Jeet Kune Do's moves and Kim Kelly's devilish steps. In his adolescence, he was addicted to American dramas in the 1960s. Pop-art, superhero comics, and Nintendo’s handheld games; as an adult, he became a miscellaneous in the film and television industry. He is familiar with all kinds of subcultures. No one can understand the storyboards, and the MV he made is better than anyone else. It's fast. Soon he was drawn into a circle of old geeks, which were full of old urchins like Quentin Tarantino and Kevin Smith, who were inextricably minded all day long.
Later, Raitra made a "Blood and Ice Cream Trilogy" with his friends Simon Peggy and Nick Frost, also called "Lovely Trilogy", which are "Zombie Shaun" and "Hot Blood". "Detective" and "End of the World", they did their best to quickly establish a unique personal style, harvesting a large wave of loyal fans in the audience and even in the film industry.
Later, he recommended the "Ant-Man" plan that he had been brewing for many years to Marvel Pictures. Michael Douglas also joined the idol (Wright), but Marvel kicked Wright halfway. Project. Wright was once depressed and difficult to vent. Fortunately, his confidant brother Quentin enlightened him, "Look, although you can't lead "Ant-Man", you can put all your thoughts on "Baby Driver", ah...
Later, "The God of Car Theft" was born.
The Chinese translation is easy to understand. The main features of this film are "Theft" and "Car", the thief and the stupid policeman, the speed and the passion, and the tastes that Chinese audiences will never tire of.
However, the most attractive point of Wright's new work is not "speed" and "thief", but the tempo that is densely distributed in every frame of the film and every audio track!
That's right, the rhythm of the movie.
This is the biggest test of a director's production ability. It requires creators to be proficient in screenwriting, photography, editing, and soundtracking. Filmmakers who are proficient in one of them can basically run rampant in Hollywood, while all-round players like Wright can only be described as metamorphosis. Once outstanding in certain aspects, a unique personal style will be formed. This style is the rhythm of the work.
"The God of Theft" is a cool film full of rhythm in all aspects.
First of all, the "rhythm" of the plot flies. The protagonist of the film, "Baby", suffered severe tinnitus in a car accident when he was young, and was unable to hear the sounds around him clearly. Only with the help of high-volume music can he concentrate and hear what others are saying. At the same time, he also combined rhythm with speed, using songs to guide himself in racing.
Speed and music are all air to my brother, you can breathe as you want.
If things go on like this, Baby becomes an unknown car god, but because he owes a lot of money to the gang boss, he can only serve as a driver under the gang boss and help the robbers escape smoothly after the robbery. Baby doesn't have many words to live well, and he has the trust of the boss.
The setting of music + drag racing will naturally breed many interesting bridges.
Because Baby's action flow is completely in accordance with the melody of the song, it is often interrupted by outsiders and has to be replayed, which is stupid. Thinking of myself who often interfered with listening to songs because of miscellaneous things, and then pulled back the progress bar to start again, an inexplicable smile came out spontaneously.
Baby also likes to record other people's words in daily life and robbery work, and make these words into music. Once, he combined the boss' mantra with DJ's DJing sound to create a creative freestyle, which became a joke to ease the tension.
Love is an essential remedy. As the plot progresses, Baby falls in love with a beautiful waiter and washes his hands for her. But how could the boss easily let him go, threatening the safety of his relatives and forcing Baby to join the group again.
However, this so-called "last order" obviously cannot be peaceful-robber infighting, Baby rebellion, revenge and murder, desperate mandarin ducks, the plot is like a swift sway, and it takes a sudden turn without breathing. The audience follows the climax of the plot. The mood was tense, and he breathed a sigh of relief because of the soothing ending. This kind of rhythmic movie-watching experience can only be described in one cool word.
Of course, the plot full of "rhythm" leaves a lot of room for "show operation" on the technical level. Take photography, for example, the retro tone is full of the ingenuity and fun of modern geeks.
Stupid thief paired with a girl, quite a bit of the look of "The Male and Female Thief" back then. Wright did pay tribute to him. From robbery to escape, he made the sentiment of early road movies.
The director’s special hobby is certainly indispensable-Baby’s life experience and skills are introduced very much like the routines of superhero movies. It is probably also a trick that Major General Lai himself cannot play in "Ant-Man", all of which are used in this film; Baby in After failing to rob the bank, there was a tight and exciting chase. The camera followed his escape route all the way. Under Wright's powerful and precise scheduling, the long shot and parkour sparked the most wonderful spark;
At the end of the car racing showdown between Baby and the killer, in a dark parking lot, only the police car with the blue light is about to turn into a flash of lightning. The strong tone difference and the surreal style of painting are quite similar to the 70s and 80s of the last century. The style of a B-grade sci-fi movie.
In terms of editing, it inherits the British director's "quick, hard and accurate" tradition. The beginnings and transitions of each plot, and the pattern display of each bridge segment are attached to the rhythm.
The most outstanding thing is the soundtrack, which is refreshing from the beginning of the trailer. In the feature film, each paragraph is accompanied by a song, which really comes with BGM throughout. The key is that the rhythm of these music perfectly fits the rhythm of the plot. The car’s engine sandwiches the bass, and the light pace steps on the drums. The plot and melody have me in you, and you in me. After seeing the movie, you can't tell whether the music makes the plot or the plot completes the music.
This is the most dazzling technique.
Among them, Baby followed the robbers and went to the black market to get a gun. The background music of the whole drama is "Tequila". At the beginning, the music is hidden deep, with only a subtle melody, and the dialogue of the robbers becomes the focus. When the robber played by Jamie Fox took off Baby's earphones, the music became clear in the form of simultaneous sound. When Fox hit the gun dealer with a shot, the music suddenly jumped out, the volume was turned up, and the shooting of the bullet was accompanied by intense drums, suddenly; Baby's dodge followed the brisk trumpet, thumping. After a burst of fire, the enemy fell, the melody weakened, the robber got into the car, only drums were left, a grenade was dropped, the warehouse exploded, and everything was done. The music also stopped abruptly. One word, handsome!
In the era of rapid information explosion, the pace of movies is getting faster and faster. Fast-hands in the film industry have also brought "rhythm" to an amazing state. Like Wright’s fellow Matthew Vaughan, who is also a representative of geek directors, they have combined "King of the Sea" and "Ace Agent". The action scenes are cut out; James Gunn’s "Guardians of the Galaxy" series also incorporates retro music and B-level film styles into science fiction, opening up a new road to superhero movies; the marriage of music and narrative requires Speaking of a Damian Chazere, his "Burst Drummer" can be regarded as a leader in this field.
And Wright has his own unique frequency, which is called "Flow" in the rap world. What is Flow is the exclusive style of each Raper in rhyming and rap rhythm, something that others cannot imitate.
Similarly, film directors also have their own Flow.
Wright's Flow is the plot of a ghost horse with cool audiovisual language. But this is not the first time he has combined music with narrative. As early as 2010 in "Crooked Boy Against the World", he tried to mix and match music and video games to create an alternative but shocking visual frenzy. He played more crazy. But this time, he played more steadily.
"The Thief of Cars" incorporates many elements from Wright's previous works, such as retro, superhero, spoof, music, etc. What is different from the past is that this movie takes all the elements to the extreme, but everything is naturally freehand without any trace. If Wright has tried it before, then this movie has made his style mature.
Therefore, from the moment the first note of the movie sounded, the audience has been "rhythmic" by the old driver, and the only thing you have to do is to fasten your seat belts.
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