Quentin only played a cameo for ten seconds, but it was the most important thing: when all the men tirelessly chased the heroine for a whole episode, but at the end of the finale, Quentin Tarantino, who appeared on stage without warning, embraced the girl. The protagonist's heart fell through everyone's glasses. But what else can this action do besides scaring the audience to death? Completely surprised, can it be the aftertaste of the ending of a romantic comedy?
If the beginning of the movie is the purest appetizer of suspense and the story, the end of the movie should be the most satisfying theme and emotional peak, and the guest performance is like the dessert of this table of feasts, just for embellishment; if the dessert suddenly becomes the main course, Is it still a guest appearance? If the main dish is unpleasant to eat, should we justify the chef as a source of garnish? "She's Funny That Way" (She's Funny That Way) is a comedy that writhes between courtship and loss of love. Putting this egg at the end scares the audience to death. It is a surprise but not a surprise. The sense of joy is exactly what it should be. It is the true king of comedy.
In addition, from the main show to the ending, "Broadway Romance" did not accumulate any elements that are enough to move the audience (for example, the heroine is sympathetic, the truth is inexplicable, and the explosion is so exciting), which further disrupted the ending. Any strength except horror. The story takes place in a Broadway theater troupe composed of five men and four women. It was originally an ordinary business collaboration. Because the director and the actors used to be the secret of the host and guest, it wrinkled a pool of ripples. The classical fun of mandarin duck music is very fun and entertaining. However, a series of coincidences, coincidences, coincidences, coincidences, coincidences, coincidences, coincidences, coincidences, coincidences, and coincidences, everything is a coincidence, Everything will be separated by coincidence... There are too many "coincidences", and they have even become the main force driving the story of the story, which is extremely exhausting to watch.
If we further compare similar group portrait films, we will be able to see the flaws of "Broadway Romance" more clearly.
In terms of the similarity of the subject matter, the first comparison object is undoubtedly the 1994 Bullets Over Broadway (Bullets Over Broadway).
Strangely speaking, "Broadway Romance" was produced by two very young directors Wes Aderson and Noah Baumbach, and then by Peter Bodan, a veteran of Lianpo who is known for his destiny. Nowitz (Peter Bogdanovich) is the director, and the one who wanders the most in the film is the figure of another old creator, Woody Allen, who is the same job as Peter Bogdanovich. Whether it’s the protagonist of Wilson’s literary comedy, or these Broadway creators substituting their personal affair into their official duties, they are completely like Woody’s light appearance in "Bullets over Broadway" by playing crazy metaphors in the play. .
Behind the structure of "Bullets Over Broadway" is the love and ridicule written and directed by Woody to the creators. In the film, through the entanglement between the two playwrights and the two actresses, he kept love as a means of utilitarian actors to gain utilitarianism, and even made a mockery of a fake shooting case. , This ridicule itself is a powerful strategy throughout the show.
"Broadway Romance" has no theme. In the story, love seems to be the end itself, and the mashup of love and work does not mean anything; the script spends everything to tell the continuous love, but it does not say a word about how to maintain love in the workplace, it seems that everyone in the whole film Love is serious, but the audience only feels warm and tender. The closest thing to the theme is that the heroine (also serving as the narrator and the author’s avatar) says that the separation and reunification highlights the destiny of life; but the whole film shows that the power of destiny is obviously far inferior to the good luck of the screenwriter. The traces are too conclusive, and the only thing that makes the whole show successful is the over-screenwriting.
Of course, not having a theme is nothing to a good movie. As long as you play madly enough, the charm of getting along with the characters will naturally overcome everything, and even turn the deficiency into an advantage. The successful case I can think of for a while is the film "Mujeres al borde de un ataque de nervios" (Mujeres al borde de un ataque de nervios) that won the Cannes Best Screenplay Award for Almodovar in 1988.
"The Woman on the Verge of Breaking Down" talks about a love-lost woman who is eager to find her ex-boyfriend to complain, but in a time of trouble, she gets involved in the strange entanglement between the man's current girlfriend and the former girlfriend. Even her son and even daughter-in-law get involved, and they are disconnected from each other. In the end, An alternative mandarin duck sketch that turned into a frenzy. The most similar nature of the two is the tendency to be based on soap operas. Although Almodovar’s script is not as crowded and troubled as "Broadway Romance", both are also group plays, full of the surprise of a group of madmen who make mistakes of mandarin ducks, and it can be seen that the two are trying to use the same structure. (Coincidence) Create dramatic tension.
However, "The Woman on the Verge of Breaking Down" was successful. Its well-organized character appearances, highly motivated and sensible character behaviors, the explosion of the ending from the first scene of the first act, and the experimental composition in which many props and scene outlines have been alienated. There is no doubt that it is a well-established group drama film; behind the composition of these successful elements is a clearly designed narrative level.
This is what "Broadway Romance" lacks. The distribution of narrative levels is not clear, so that coincidences can only remain in the suspense function, and there is no way to bring out the characters' deep encounter energy. In order to fill in the layers, the story has made all kinds of footnotes, but they are not pleasant to see, because no one wants to see first-class actors come up with third-rate jokes, want to see the lack of brewing role collisions, and there is no need for a bunch of coincidences. Coincidentally absurd.
Compared with the cumbersome plot of the plot, the emotions of the characters in "Broadway Romance" are too thin. Just saying that he (she) loves you (you) you (you) love her (him) can kill everything; the motivation is also lacking. In the end, the director's charitable act of spending money to sponsor call girls lacks sufficient explanation. The actors, despite their hard work, can't perform much in such a thin and contradictory framework. The shooting method is monotonous, and it can avoid the medium and long-range composition. The taste of the TV series is strong, and it seems that the story is like the concentrated juice of a soap opera.
Quentin's abrupt flower arrangement is undoubtedly the last straw that crushes the camel. Just before falling to the ground, what made the camel so tired? Obviously, this straw, which has too much weight in and out of the play, is obviously not the only misconduct.
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