Nicholas Winding Leifen came from an artistic family, and his father Anders Leifen had a particularly profound influence on him. As one of Denmark's best film editors-and also Lars von Trier's queen editor-and one of the directors, Anders' career directly affected the young Leifen. Like many young directors, Nicholas Winding Leifen was also a super fan in his youth. He was influenced by many types of movies, especially Japanese movies and American B-level movies. He was more concerned about the themes of gangster movies. It is a special favorite. But unlike mainstream gangster movies in the United States, he always focuses his lens on the dilemma of small people; he focuses on the inner exploration of the characters. Therefore, in his films, the inner activities of the characters are visually displayed as the director's shooting process. The most important in.
"Desperate Driving" is a relatively vulgar gang revenge film in terms of content. The film tells the story of a silent and diligent "driver" because of his love for a female neighbor, to help her family not be harassed by gangsters and kill her. This is a gangster movie that is easy to make people laugh, as a Chinese film critic said after viewing it: His movie makes people feel so funny (not humorous) when they see those bloody scenes. It's really not Easy, zero points. There were laughter from time to time at the movie-watching scene. This evaluation may indeed represent the contempt of a group of movie audiences accustomed to Tarantino's aesthetics of violence.
But in "Desperate Driving", he can find so many visual language full of his personal imprint and the most vivid and vivid ridicule of the genre. He even made the "driver" wear the mask of the notorious British criminal Bronson to kill in a meaningless scene, and Bronson was the male in the film "Bronson" he was invited to film in the UK in 2008. main character. Such a scene has nothing to do with the content of the movie itself, but the deliberate traces revealed create a special humorous effect. This huge gap seems to be a loophole in editing, but it creates a wonderful visual experience for the movie as a whole. The bloody scenes, background music, and actor performances of the B-level film all seem so uncoordinated, but they are really interesting. If Nicholas’ director ability has been recognized by the audience and praised by film critics in his previous works, then what he expects for this film is a subversion, a complete subversion of his own past and the so-called genre, and the way it subverts So thorough, it makes people speechless like a driver.
In this originally smooth revenge film, actor Ryan Gosling’s stupid performance is the icing on the cake. Like the protagonist in Nicholas' previous works, the driver is taciturn, and there is very little dialogue in the movie, but there are many alone and confused scenes. What other traces can you see in this movie? Martin Hessex, John Casaverts, Jean-Pierre Melville... and of course Japanese director Kiyotoshi Suzuki. Nicholas's hodgepodge of gangster movies makes people laugh in the cruel fight. This can not be said to be a combination of his ingenuity and skill. If Tarantino is a declaration of his success as a perfect tribute to his idols, then Nicholas is a Nirvana-like rebirth by completely subverting his idols... This is what he has always done. He is also good at it.
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