movie is very gentle. It doesn't point out anyone's fault or social morbidity sharply, and even small characters are full of personality, allowing people to find common ground in life. Under normal circumstances, people cannot tolerate overly sharp works, especially those that touch very ordinary life themes. If you are not careful, the vigorous and sensitive lyric will turn into nihilistic irony, dressed in what seems to be a literary youth. Philosophical thinking is actually full of superficial complaints. The previous film Frances Ha, a collaboration between the director and the lead actor, was a bit caught up in the above-mentioned contradiction. In Frances Ha, Frances's incompatibility with real society is too idealistic. In Frances Ha, one of the main lines of friendship is also described as weak: the image of a friend and herself to the world is too different, and friend Sophie only tells herself before leaving Japan that the friend's choice of life and love is very different. Her own concept of life is quite different... In Frances Ha, Frances Ha is a character who is almost betrayed. She faces strangers, bosses, and friends with all her sincerity. She only talks about right and wrong, not the pros and cons. This is a kind of courage, but it is also a kind of lingering powerlessness-----this kind of powerlessness comes from a sensitive and sincere understanding of life. Frances Ha is almost indifference to the outside world, so there is less anxiety about life. Towards the end, the character's personal progress has become a sincere inevitable result.
In contrast, the story of B and T in the American lover, their conflicts appear to be more energetic, which makes up for the anxiety of the lack of individuals in Frances Ha in the social status, thereby making them more realistic. The American lover presents a series of prosperous and interesting life snapshots in New York. There is no sexual display of male and female emotions, dramatic contrasts, horizontal character contrasts, and vertical story development contrasts to show the story of young people groping for life.
Directors and screenwriters in the United States are not mainly based on the inability of such enthusiastic young people who may not be able to adapt to society, and then calmly look forward to the future in the numbness of the day. There are many shocking arrangements among American lovers, and the characters are socialized. On the one hand, it is balanced with literaryization. In ordinary literary movies, Brooke, who is full of creativity, may not be a fitness instructor at the same time, and is a socialist who has many friends in New York, and she set out to run a restaurant very carefully; Tracy is a college student who admires literature , There will be no deliberately stepping into the lives of others, alertly discovering and grabbing a piece of material behavior. The personality settings of these two main characters have broken through the sense of unity in conventional movies of this type.
－Brooke
"smells rot", "doomed to frustration", "the last cowboy in the world, full of romance and failure".
Brooke can't fall asleep with excitement from watching TV-she is a very sensitive lover. Compared to Tracy's sharpness, she is a tolerant. Her love trumps everything. The love itself is many times more important than the content, so a lot of love can not be put into practice. However, she would complain naively and solemnly at the time, as if the bad results should be the fault of others. By nature, she is very narcissistic, like anyone who is overly intelligent and overly sincere. They see their own wisdom and creativity, know that such qualities are respected by the world, so they are justified to squander. It sounds like an unbelievable child, but the inability to persevere is part of this character. They knew how perfect and cute they would be in an ideal world, so they downgraded reality. Even if their routines do not work in reality, they will still insist on their cleverness, cuteness and kindness-these advantages are very pure and will move to tears when necessary, but they will always have some things that cannot live in real life. when.
In such a situation, two kinds of judges appeared, one opponent and one supporter. We have heard the reasons of the opponents too many times, and the reasons of the supporters seem to be the same. But it seems that everyone is supporting the character model that resembles himself, in line with the fantasies of people who have nothing to do. And true fairness should be reserved for those who are not overly subjective—the true right of scrutiny is reserved for those who are willing to abandon their own concepts and their own history to examine a kind of life and a kind of value. Although it is difficult or even impossible not to align the character with our own characteristics, when we really see Brooke instead of Brooke who has my own characteristics, we can look at her rationally. Her love, her way of love, her right and wrong, her direction and her opposite direction.
Those "romance and failure" are relative, so what would it be like from a writer (Tracy)?
-Tracy
Tracy is a venomous woman. But this kind of verbal cruelty is not bestowed by the darkness of her heart, but by the keenness of a writer. The genius of this kind of writer forces her to examine the people around her, examine all those hidden or subconscious thoughts. Sometimes they can't afford it because they can see too much. Those things that did not belong to these keen insights fell into their eyes. These details, personalities, penetrability, consume them-in this way, the way they become more and more familiar with the world, they turn to the road of losing interest and even despair in the world. When they spend one night with people, they can see clearly what happened to that person, and understand who the person will choose as the assassin and who as the police in the killing game. And Tracy, as such a "genius girl writer", did not waste her talents in vain.
She described Brooke almost cruelly, leading the development of the story almost cruelly. Using a kindergarten-style psychological analysis, Tracy sees a shadow of the future in Brooke. This future is illusory but full of vitality. It satisfies every positive fantasy of T, while leaving an undecided ending. T loves B's talent and initiative. But every active person will be liked; and as an arrogant writer, the basis of being able to play the role of God is to have a firm (even with love and respect) contempt for the sentient beings slaughtered by him. This is the emotion that T has towards B. She is not like a rock kid. She must swear loudly when encountering something contemptuous and is willing to fight for it. She has enough social skills for ordinary people to coexist with admiration and contempt, and completely put down her body when she speaks. , The sincere eyes gleaming.
But even if he believes more in his talent and perseverance, T still loves B. No matter how big New York City is, no matter how big someone’s shortcomings are, good things are always good. Tracy's talent is not only to see clearly, but also to distinguish. At the last moment of the movie, T said that people in other categories are nothing compared to B. Those people are just matches for her campfire. From one perspective, this is a protest against American culture, a value system that advocates innovation and enthusiasm and is ultimately judged by capital. The ultimate success of this kind of capital is very broad, and it is rooted in everyone's heart, even this very insightful freshman literary young woman. She distinguished B and knew she was a loser, but under what framework did she fail? She couldn't define it precisely, and it would be cruel to everyone. But at the same time she knew that all the foundations of this kind of "failure" were a kind of framework, and this framework collapsed, and B was the last cowboy in the world, but it was completely full of romance without failure. The object of B romance is life itself, the originality of the stolen flower t-shirt, the indifferent ridicule of ex-boyfriend, the weak roar of T, re-testing the SAT, applying for college, moving, and spending Thanksgiving with the enemy.
Compared with B, T is indeed still a child. Perhaps the sharp insights of her writer make her feel more mature. However, her whole story can also be joked as-a New York college student's play house game: Today I want her to be a loser; tomorrow I want her to wear the best-looking dress, she wants to be romantic and successful . In the end, whether it fails or not, and whether it is romantic or not, is defined by T alone, but the feeling of being attracted by the vitality of life is beyond his control.
T is calm and restrained. He eats alone and cares about grades, but not too much about social interaction. When he is happy, he has enthusiastic ideas. When he is unhappy, he walks to the door of the party and returns to the dormitory. She is an atypical cool kid. But no matter how cool she is, there is an end. While discovering an interesting New Yorker step by step, her heart is also surrounded by helium balloons of various colors and styles. She feels full and excited as an observer. B is the firefighter of her youth flame-T's pen can ridicule every kind of people, men, women and children. Only B, a kind of magical classmate in high school, can ask himself the clear math problems. I was also a little dizzy, so I thought about it for a long time, only to realize, oh, this is wrong. T is too smart, too sensitive, too accustomed to being smart, too accustomed to being sensitive. T is a hot spring, so I don’t want to come out again when I feel comfortable soaking in, so B transports a lot of ice cubes over, so that the sky above the hot spring is all scattered. T can hold a mirror and see that the corners of his eyes are also red, but he It’s still very cute and beautiful. When you laugh, you can fascinate a group of boys. You can suddenly say: "Yeah, fuck those Columbia girls, and those self-elected douche bags."
But in fact, I can’t see clearly. Does it matter? We can see one second clearly, and it will never last for long. The way to be realistic and romantic is to learn the ability to accurately touch the blind when you can't see clearly.
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