This is a film with no ambitions at first glance, but it is absolutely dedicated to telling the story. It has all the advantages of old-fashioned movies to create a dramatic climax. There are not many characters, and the plot can be easily picked up by picking a thread, but it is beautiful. It's beautiful, soundtrack, and photography all match up.
The protagonist Felix is an old man with a story. When the film opens, he steps on the sound of the old piano. In addition, the two "bangs" shots fired into the sky, the inside and the outside are combined, which is very useful. In a mountain forest, a wooden house, a donkey, a shotgun, and a cluster of candlelight, when Felix stared at the woman in white in the old photos, his slightly moist eyes provoked the audience to come forward and find out. Of curiosity. The old man has lived alone for forty years, without relatives, children, and friends. One step forward is death. But when he turns around, there are half-life grievances to talk about. Those who support this two states of black and white are stuck at this juncture, the old man. The funeral that I just wanted to do for myself, everything will be a matter of course.
In fact, the so-called "funeral" is not a ceremony for peace in the traditional sense, but a pre-death carnival planned by Felix. The protagonist of the film does not intend to say goodbye after summarizing, but to tell the truth. On the one hand, he clarifies his reputation that he has been demonized within a few hundred miles over the years; on the other hand, he has a lucky draw, unconditionally giving away his own farming and guarding. Mountains and forests and land for forty years. This provides material incentives for attracting unfamiliar villagers to come to participate in the "funeral", and also provides necessary spiritual support for the following plot. But the film did not act all the way. A series of steps such as taking pictures, appearing in the newspapers, advertising, and radio advertising funerals were all integrated into the joyful bridge by the director, clearly outlining the madness of this old lunatic, Hollywood old-fashioned comedy. The charisma of Li was scattered in the meantime, causing people to laugh and tear, and the bright personalities of the funeral home owner and young staff who helped him plan the party were also beautifully displayed in the process. Marty-Felix's introduction of the lover's role when she was young is even more controversial, and the effect is striking. When everyone thinks that she must be the woman in white in the frame, and the protagonist is determined to break through the spiritual cage and hold the funeral party for her. The plot suddenly turned in another direction.
During this process, the 80-year-old Duvall was responsible for lubricating the slightly jerky plot turn due to the big opening and closing, and dedicated an old actor (won the Oscar for best actor in 1982 with [gentle mercy]). level. When he played against Bill Murray, the director of the funeral home, [Own Funeral] was a melodrama with concavities and convexities; when he got along with the "old lover" Cici Spicer, the film added love to the film. The gentle luster of the film. Especially in the last quarter of the film, the speech he made at the funeral party was restrained and swaying, not losing to the generous statement at the end of Al Pacino's feudal masterpiece [Scent of a Woman]. It is said that it is a speech, but it contains several levels such as soothing memory, sincere confession, and struggling. It is not supported by the flashback of the screen, and it is supported by the performance. Throughout the awards season, only the actors' union has a unique eye to send the nomination, and that is exactly what Oscar owes Duvall.
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