In film taxonomy, epic seems to be a vaguely defined term that is often abused.
Therefore, the tablet literary romance film "Out of Africa" and the timeless "2001 A Space Odyssey" can be juxtaposed; "The Lord of the Rings", "Star Wars" and "Ben Xu", "Gone with the Wind" and "The Godfather" are all called Epic... but what exactly is an epic?
Perhaps, quoting Huang Maochang's definition of "independent production" is just a feeling, you think it is, it is.
The first requirement for an outstanding epic movie is to be long enough, preferably more than two and a half hours (is there a short epic movie?). The second is that the pattern should be large enough. It is best to combine the two types of love and war (of course, many outstanding epics do not conform to this rule: such as Kubrick's "2001 A Space Odyssey" or Terrence Malick's "Red Alert" does not talk about love, but develops new life from the established genre).
Today, too many box office blockbusters produced at A-level have been dubbed the title of "epic". I always think that calling the "Titanic" or "Pearl Harbor" epic is nothing but a self-defeating ploy. A true epic has to accept strict standards, otherwise any bad Hollywood film is a "shit poem" under a relaxed definition. I more selfishly believe that the so-called epic, in order to be worthy of its name, is the best story for decades, and it has to be tangible, such as Bertolucci's "1900" and "The Last Emperor"; Pola's "The Godfather" trilogy; Kusturica's "Underground" are all epic masterpieces that I like very much.
Recently, after experiencing a little disappointment in "The Barber of Siberia" (directed by Mikhalkov), I thought that Emmanuel Béa’s "Sentimental Fate" which interprets the daughter-in-law of the French version of the eldest man in the early 20th century is already a It’s a masterpiece in China, but after watching the "Sunshine" (Sunshine) that I have thought about for a long time, I must say that this is an epic!
"Sunshine Lover" is a 1999 work of Hungarian director Estefan Sabo (previously: "Sweet Emma, Dear Baobei" and "Crazy Love Venus"), a multinational joint production between Canada and Hungary, Ralph Fiennes plays the role of grandfather and grandson Triangle, while well-known actresses such as Rachel Weisz of "The Mummy" interspersed with stars like the most important women in the life of the male protagonist(s); a long-lost soundtrack Maurice Jarre ("Walking in the Clouds") and Lajos Koltai ("Sea Pianist") work together to create a dazzling and nostalgic audio-visual feast. The film has won the European Film Awards actor, the Canadian Kinney Award for best film and other awards.
The story starts with a Jewish family in the Austro-Hungarian Empire that started as a pharmaceutical liquor at the end of the nineteenth century: In the first paragraph, the brother of the judge who is loyal to the Austro-Hungarian dynasty and the brother of the Communist-leaning doctor both fall in love with the free-spirited cousin Veraly. Background Interspersed with the First World War, the collapse of the Austro-Hungarian Empire, the fading of the glory of the past, and the short rise and fall of the Communist Party; in the second paragraph, Villalie is already the eldest son and daughter-in-law in the family, and the second son Adam ( Ralph Fiennes became a national player in Western swordsmanship, and also won the Olympic gold medal on behalf of the country. Although he was proud of his career and love, he couldn’t help having an affair with his sister-in-law. The story finally broke out in World War II, and only Villalie And Adam's son Ivan (or Ralph Fiennes) survived. The third episode takes place in Red Hungary, where Ivan became the confidant of the Communist Party, avenging his father's remnants of the Nazis who survived the war. However, like a curse, following the ancestral history of inequality, he also had an affair with the wife of a high-ranking official.
The thin three generations of love stories have left the film lingering because of the successful combination of historical writing and individual lives. Taking the Jews, the most dramatic nation of the 20th century, as the protagonist of the story, coupled with the constant twists and turns of the Austro-Hungarian Empire background, is enough to make the plot that spans half a century colorful. From the conservatives of the royal dignitaries in the past to the proletarian revolution brewing at the beginning of this century; from the militant extreme right of World War II to the extreme communists under the iron curtain after the war, Saab’s original scripts are almost the epitome of historical development in the 20th century. . Of course, the Jewish identity makes the film more rich in thinking. Whether it was the imperial period, the Nazi period, or even the Iron Curtain period, the protagonist’s Jewish identity was unconventionally criticized and treated unfairly. History is constantly changing, but individual lives have the same goal by different routes. Identity is a curse and a distraction, but it also becomes the last salvation (the way to crack).
This is true in politics, and so is love. The love of the grandfather and grandchildren of the three generations are all swinging on the edge of injustice. Although Ralph Fiennes plays throughout the audience, the actresses are limited in playing time and cannot have much attention. The script still gives them a moderate amount of humane care. . Whether it is brave or indulgent, the script attempts to present in a limited description a female Ukiyo-e that only seeks to rely on in troubled times, and desires free will in addition to liberation of eroticism. At the end of the story, even through the narration of his grandson, it is unhesitating to declare that only Villalie in the whole family is a person who is loyal to herself and pursues free will.
Must particularly respect the genuine mother and daughter who played the young and old Villalie: Jennifer Al and Rosemary Harris. Jennifer Al is no longer the pale bitter woman in "Wilde" this time. Instead, she becomes a smart photographer at the end of the 19th century who has the courage to insist on free will. She bows her head and stabs her feet in the sun (see the poster of this film). Nai’s famous painting "Picnic on the Grass"; of course, the grandmother of "Spider-Man", Rosemary Harris, is not a fuel-efficient lamp. As the story progresses, the old Villalie becomes stronger and more wise, still with the look of the youth (spiritually , Both in appearance) echo tightly. As for Rachel Weitz, as the biggest actress, she also got the most eye-catching villain role (the second-generation male protagonist mistress), but she suffered a loss in the role and was unable to make this bitter wife role brave to pursue her own desires. Flesh and flesh; the same problem also occurs with Molly Parker ("Sensual Quintet"), who plays the second-generation actor's wife, and Deborah Karaanga, who plays the third-generation actor's mistress ("Fatal Games", " "Crash") on the body; the former is pale and plain, and the latter has too few descriptions of emotional transitions. Fortunately, the careless play of these actresses fulfilled Ralph Fiennes' radiance. Inheriting the gloomy nature of an affair man in "The English Patient" and "The End of Love", Ralph once again proved that he is definitely the number one candidate for the role of indecent love in literary films! Especially in the movie, he went up to the knife mountain and down to the pan, and had to be completely naked and abused by the Nazis in the ice and snow. The physical sacrifice was exchanged for the throne of the actor... It was worth it. Finally, I want to introduce the British actor James Fulan, who played the younger brother of the first-generation actor, with curly black hair and a deep gloomy temperament. ) Is very eye-catching, but the later "Crazy Love Cello" and "Reindeer Game" (the short-lived villain) have not been reused. But he is definitely another dazzling rising sign among many British male stars after Jude Law.
Many good epic movies have a magical and realistic color: the return to the old days and the extremely sentimental ending in "1900" seems to have laid a silent comment on the struggle between the two classes; "Underground" is surprisingly imagined , Heaven and legend are juxtaposed, the separated island and the feast of all the dead open a window of infinite interpretation. It's a pity that "Sunshine Lover" is a bit contrived to change the grandson Ivan back to the Jewish surname (a sure self-indication), but fails to dig deeper into the secret sunshine (also a literal translation of the film title) and the film text. Combine.
Transferred from two or three things about the movie
View more about Sunshine reviews
