Hate it late!
From the vivid eyes of a few people in the class and the teacher’s passionate reading, the film’s very distinctive style begins. The silent minute in the restaurant is similar to the rectangular hand-painted by Uma Thurman outside the "Pulp Fiction" restaurant. The time for digressions "makes the already happy dance even more interesting.
Arthur and Uldir’s conversations on the stairwell and on the subway frequently came up with golden sentences:
Woman: "Is there any problem? You look unusual."
Male: "Why say it's unusual, isn't the usual trouble enough?"
Female: "Are you in trouble?"
Male: "Don't you?"
————
Male: "Have you ever kissed?"
Female: "Of course!"
Male: "Then you know how to do it?"
Female: "Of course... with your tongue..."
Male: "Okay, let's try"
Female: (closes eyes and sticks out tongue)
————
Male: "See you in the car downstairs in 10 minutes."
Female: "How can you be sure that I will go?"
Male: "There are only 9 minutes and 56 seconds left."
————
Female: "What do you think of me?"
Man: "How about you?"
Female: "I don't know... you are like a husband."
Male: (Inner WTF face for one second)
————
Woman: "People in the subway always look so sad and lonely...Look at that person, why do you look at that expression?"
Male: "It depends on how you think, his expression will change with your thoughts... For example, if you think he bought a teddy bear to go home to his sick daughter, then it’s okay. But you think he is holding Explosives, if you want to blow up this country, then he will look very hateful."
——————————
There is also the song Uldir, telling people's aspirations.
Wong Kar-wai’s "petty bourgeoisie" lines and ethereal narration, Quentin’s neuroticism and plot, the special interest in the video, and the soundtrack have all been experimented with by this Frenchman more than 20 years ago. The key is that they can still run. Back to the Louvre...
The real masked thief at the end is going to be drunk too.
The two men seem to have no good intentions, deceive and use Uldir's emotions, but in their hearts they are also enamored with Uldir, and they secretly exert themselves and seem a little careless. This kind of character relationship makes the development of the whole story interesting. Uldir looks like a "big silly girl" who lacks a string. Franz also said similar things more than once, and her "silly" made the two men confident and successful in starting this plan, and also brought the end of this plan. A little bit has changed.
But the biggest variable is that he has only played once before-Arthur's uncle.
With that heroic music, accompanied by the appearance of the last villain, a few shots became a majestic scene.
"It’s strange that people can never be in love with each other? They can’t always come together. Everyone is a lonely individual, walking alone, never believing in others, and living in tragedy. Even if they are together, such as In the same building, or in the same street... don't you want to talk?"
"No…"
"When I said I wanted to hug you, did you hear that?"
"heard it."
"But you are still very sad."
"I'm not that sad."
"What the hell is going on?"
"What just happened made me exhausted."
"Then what do you want to do?"
"And you?"
"I haven't decided whether to go to the south or the north, you decide."
(After a child-like selection process, please see the original film for details)
"north."
Forgive me for a lot of lines, these really impressed me too much.
In the film, the relationship between Uldir and the two can't tell who is more "sincere", maybe because she is a bit "silly", her ignorance has also made the relationship romantic.
The last sequel, the South American Horror of Uldir and Franz, is also a color widescreen movie. I guess you either ridiculed American movies or deliberately cheered the audience. Haha, you later made a color widescreen movie yourself. Madman Pierrot.
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