8.4
Sometimes I want to laugh, but most of the time I can’t laugh at all. The author is clearly mourning his death, but the image is kept secret. Everyone has this hatred. Later generations have made countless "Sunset Boulevard": memory of old Hollywood, memory of macaroni westerns, memory of black and white movies, and memory of silent films. Yes, remembering the stage movie. The most attractive part of this film is its frustration and contradiction to the changes of the times, and the way it hides its own joys and sorrows. Of course, as usual, everything is still under the perspective of the lowest-level public. Chaplin had the age of the circus in his mind, but he himself was the representative of this new age.
The circus has existed since the beginning of human beings (suspicious), and it has slowly evolved into a low-level mass entertainment channel, including balance, suspension, rotation, distortion, swallowing fire, playing with pieces, flying knives and walking ropes, and escape from the tiger’s mouth; the story takes place on the bones of the eye. , Year after year, that era died, not only because the actors violated the welfare of animals. The main reason was the Great Depression. The circus was no longer convenient for touring, and could only stay in the same place for fixed-point business. The dull shows were common to the same audience, so they were always on the verge of hunger and poverty, bankruptcy and bankruptcy.
No, the real threat to the circus is Charlo, Chaplin, and the video medium. In the beginning, this was a fringe art that was not visible. The police chased him like in all stories. Jing Yuan showed the introspection of the image. Charloin accidentally broke into the field of mass entertainment and unexpectedly caused a roar of laughter. The boss's concept of stage has fallen behind. When Charlo really fits into this order and learns their red tape to make funny shows, the audience resists smiling. There are countless paradoxes in this. The rehearsal of the circus does not find it interesting, but when they perform, they have to laugh and laugh, and Charlo discovered their interest. Movies happen inadvertently, and circuses are deliberately created. The real movie is a physical spectacle, the last twenty minutes of "Safety First". That is, the circus entertainment is to let people who can walk the tightrope walk the tightrope, and the movie art is to let the person who can't walk the tightrope walk the tightrope; what is the bomb moment, let the audience know that the protective rope has been separated, and the steel wire is used. The people at Suo didn't know--it couldn't be more convincing than this.
All of Charlo's actions took place instantly, so he lifted the weight of the potential danger and did not stop even if he chased the police on the turntable of the circus. He never learns, so he is always himself, never caring about the future, so he is always wandering. This is incompatible with the circus that cares about the process and the program, but it is a movie itself, things are always happening, not preparing. Charlo is a saint. Chaplin's image world always has three levels of order. The innermost is his own world, the middle is his world, and the outermost is the world where the audience is. Only by looking at it through a layer, beauty and divinity can be conveyed to us; on the contrary, the world that surrounds him will always reject him. This barrier in "Circus" happens to create real dilemmas and arguments about art. Video is an independent art, and it will exist off the stage. It sounds like a good thing, but he will eventually stay away from everything he loves. The relationship between the characters and women in Chaplin's films has always been the relationship with the entire society. The female rider will eventually follow the tightrope walker, and Charlo is destined to continue to wander. Considering the age of its birth, it is simply a magical film.
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