Day39
Enchanted Possession
1981 Andre Zulaski
"Obsessed". I am also obsessed. Although I have seen its screenshots and clips countless times, I was completely shocked after watching this film for the first time. Isabella Adjani is truly amazing. Her sorrow, anxiety, madness, pain...all things that are white have become black ink and shameless compared to you. All ignorant birds and beasts are desperate because they can't tell your name... She is In the eyes of all directors, she is the actor herself. Adjani didn't have any madness after the film, which shows how good her psychological quality is.
Someone actually said to throw away Ajani, this is a third-rate Cult film, absolutely not. This is my first Zulaski, and I have never seen such crazy and free camera movement. The movement of the mirror in the movie is more like the unconscious intuition of the photographer. The movement of the camera captures more energy as the plot of the characters flows, and the speed of movement is also accelerating, becoming more and more intense, just like a climax in a jazz movement. , Or obsessed, the camera is also obsessed. In the end, it stopped abruptly, staying on the close-up of Ajani's brown or green eyes. BOOM. The firework exploded in the night sky. All camera movements in the film are unreasonable. There are very few "gazes" or regular pros and cons. However, there are a lot of rotating shots and shaking close-ups of people in space. When the male lead entered the room for the first time and resigned, the camera circled the table in a big circle. The audience will start to think: Who is watching at this time? This is obviously not a God's perspective, and ordinary people's perspective is not so fast and exaggerated. Is the hero obsessed? Is this the devil’s perspective? Before we had time to think, the camera quickly jumped to the next scene. (Jumping also often appears) But the jumping here is not abrupt at all, but gives a clear view of the anxiety of the heroes and heroines.
After being beaten by the male protagonist, Ajani yelled "dont ever try!" to the male protagonist in the empty street with blood and subjective shots, sometimes looking upwards, sometimes holding close-ups and holding them. The "axis" that we flatter in general two-person dialogue plays is a joke in Zulaski's eyes. He wants to break all conventional lens language, destroy and reorganize. Whether it's a cross-axis or a 180-degree rotating lens to change the position of the character: Zulaski wants to confuse us. There is no real good and evil. It was like Ajani who was possessed by a demon whispered and moaned under the icon of Jesus.
It must be mentioned that there are two long hand-held shots of the cafe and the underground passage. Most of the dramatic tension in these two passages comes from the actors, and what the camera (that is, us) should do is to calmly and objectively observe what is happening: it is given the power to transcend the image itself. The images of quietness and movement are different from Tarkovsky's poetic and beautiful long shots. Both have their advantages. They are both innovators of audiovisual language. The difference is that one is the burst of external energy, and the other is the call from the heart.
The madness of this woman is actually easy to understand. Who dares to say that we have not created a devil's desire in our hearts? It's a pity that when we watched "Enchanted", Adjani was always eye-catching, while ignoring the director as the biggest factor in the success of a film. We can always think of him as the husband of Sophie Marceau, a famous Polish banned film director, and Zulaski's fame and reputation are obviously far from matching his talents. It's a pity that the deceased in 2016 has passed away. All I can do is to watch his movie well.
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