A black and white film, taken in 1965.
I still pay attention to some technical details, such as the camera call of the film. What can I say here about Milos Forman? Maybe I have no qualifications, just because I have only seen one of his films.
Many films have problems of one kind or another, and no matter how well they are done, they are not perfect. But such a black and white film, made in 1965, seems to be very close to this result.
In terms of camera call and scene transition, the director's skills can be fully seen (of course, there are also credits to the photographer and the editor). After reading a paragraph or two, you can basically know why "this guide" is such a character. There are also those who are wise but ignorant, but this is only a very small number. For a pale story, without any innovation in the way it is told, it's a murder of film. Although no one likes to do this business, but those with poor talent will inevitably go this route.
It's a very smooth story, and if you describe it in terms of design, it's a "text block color" that's a gray, uniform gray. This is already a very high level.
Therefore, I recommend such a film, here. I hope everyone can see it.
After watching this video, you may find some dark humor from JIM JARMUSCH. But I don't think there is a problem of who imitates who, after all, they are all famous directors, and the bottom line of "learning" will be well controlled. You can also see it as a youth film, but there are at least two differences, one is dark, and the other is humor.
Let's talk about its lens calls anyway.
Let's pay attention to the beginning of it, which is the part of the dance. You can see that the shot follows a certain trajectory: a food cart being pushed, or a person's gaze shifting, or a certain person walking. When the camera moves from one place to another, you can feel a calm transition, just like writing prose. Although it can be written in different directions, you can find a main line. This thread is the natural drive that keeps the shot going. That is, I'm looking there now, and the camera goes there; where I'm looking, someone walks by, and the camera moves to the person; then the person walks to the kitchen, and the camera follows him; I know he's talking to someone else on the way. In a word, the camera moves to the other person. Finally the man gave me a wink and the camera moved back to me. In this way, a cycle is turned around. We can run the process in our brains and run the process. Add oil to it, and control and play with depth of field, angle, speed, and you can feel the director's point of view.
Is it actually that simple? Of course not, this is mostly due to editing, post-editing. But control issues such as depth of field and angle depend on the photography. However, these are the basic skills of the director. If you can't even master these, then you can only go to make TV movies.
There are various ways of making movies. There is no fixed standard for the so-called success. It is unrealistic to please everyone. However, I still like those films with novel techniques, no matter how pale the content may be, at least they have contributed to the development of the film itself.
This Blonde Love is one of the few movies that has wowed me. The power it showed made me realize that film, this art form, can also touch the artistic conception in narrative and interpretation that ordinary literary works cannot achieve. It leaves too many 21st-century filmmakers working with color film to shame. Hope this is what I said wrong.
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