The true brave dare to refuse the hypocritical verbosity

Blaze 2021-10-20 17:29:55

A stubborn child walking with a lonely adult will undoubtedly always elicit a hidden emotion. At first it is for money or helplessness, and even mutually exclusive. A kind of trust and non-rejection is established in the middle. At the end, there is a lot of love, belief, Warmth is waiting there. It seems that the adult's escort, protection, and help are actually a certain belief-style realization of self-salvation and identification, ice melting and release. The classics of this kind of movies include "This Killer Is Not So Cold", "Central Station" and so on. This time the story takes place in the western United States, the environment and brushwork loved by the Coen brothers.

A good soundtrack is the soul of a movie. It leads the audience to taste its story. It is like lighting to a good wine. Too bright or too dark is not good. Only when it is appropriate can people be willing to drink drunk. The hymn "Leaning on the everlasting arms", for such a strong and rough movie, it is just right. With the beginning of the film, the golden oil lamp in the room was shaken and reflected under the porch with the wind and night snow. The quiet and slow piano made people feel that this night was Christmas Eve, not like telling a story of revenge, even if there are more. The roughness and coldness of the wild west, no matter how lurking and chaotic murderous intent, no matter how bloody, cruel, black, and oppressive....... At the end of the evening when the old man was running with the little girl in his arms, the shadows of the trees, the sky full of stars, and the illuminated house before exhaustion, this kind of human and romantic turn is not abrupt, but beautiful and natural, because the music has always been Through it, it turned into a warm and somewhat sad story.

The little girl’s calm and shrewdness, maturity is not in line with her age, her life threshold is so high at a young age, no wonder that 25 years later, she appeared in the image of a lifelong unmarried old maiden, with a blank face, so many people. disappointment. Just like the well-known child star tends to be flat or subverted after adulthood, because her life has experienced a premature climax.

I really like the beginning and the end of the movie for twenty minutes each. No matter how vague and flat the plot is used in the middle, its slightly gray coarse particles can't cover the delicate and pleasing at both ends, because of all the exquisiteness and the expression of faith. , Which has been completely implicit.

Although I can't fully appreciate the nostalgic temperament of Western films and the barbaric and cold atmosphere created for heroism, the Coen brothers' understanding and expression of fate, a certain unruly and certain certainty, made me extremely moved. The old man shot and killed the tired horse that fell to the ground. If he let it wait for its death in the wasteland, he would rather give it a happy ending.-This is what I want to believe in the interpretation of the film. Knowing dignity, that's why he was rude to life, but behind him, borrowing the girl's look back at the little black horse, he cast a nostalgic glance. Because of this, the old man desperately saved the girl, and then left without saying goodbye before she woke up; because of this, the girl remained unmarried for life and did not care about the eyes of others. Because of this, the Coen brothers refused to tell a clear story, but fully explained their beliefs. We may not understand this complex, perhaps even less able to bear this simple rudeness and subsequent desolation. Only people who cherish life and beliefs, and only true brave men, can not bear most of the verbosity of hypocrisy.

In "This Killer Isn't Too Cold", Natalie Portman planted Leo's plants on the lawn of the orphanage, and the camera was lifted with a ray of sunlight. In this film, Mattie buried the old man under a tree in his hometown 25 years later, with the setting sun behind. In fact, she had buried him in the spring, buried in the eternal arm of God.


What a fellowship, what a joy divine,
Leaning on the everlasting arms;
What a blessedness, what a peace is mine,
Leaning on the everlasting arms.
Leaning, leaning,
Safe and secure from all alarms;
Leaning, leaning,
Leaning on the everlasting arms.

Oh, how sweet to walk in this pilgrim way,
Leaning on the everlasting arms;
Oh, how bright the path grows from day to day,
Leaning on the everlasting arms.
Leaning, leaning,
Safe and secure from all alarms;
Leaning, leaning,
Leaning on the everlasting arms.

What have I to dread, what have I to fear,
Leaning on the everlasting arms;
I have blessed peace with my Lord so near,
Leaning on the everlasting arms.
Leaning, leaning,
Safe and secure from all alarms ;
Leaning, leaning,
Leaning on the everlasting arms.

Everything in the world has a price, no matter what. There is no free lunch, except for the gift of God.
You must pay for everything in this world, one way or another. There is nothing free, except the grace of God.

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Extended Reading
  • Monica 2022-03-24 09:01:22

    It's the most tender movie of the Coen brothers I've ever seen. The ten-minute ending of the film, Old Jeff's heartfelt "I'm old" is really teary... the ending song "Leaning on the Everlasting Arms" sounded, and the emotions continued. Last time The same feeling is still the ending theme of "Brokeback Mountain"...very good, very good.

  • Ona 2022-04-24 07:01:03

    A magnificent western dirge of the Coen brothers, mellow and not without sourness. 1. The three characters are all made with flesh and blood: although the sheriff is rude, alcoholic, and discriminates against Indians and Chinese, he is bold, affectionate and righteous; the girl who is determined to avenge her father is determined, wise and brave, and she believes in justice and a little bit. Naive, Hailee Steinfeld is fantastic; Damon's sharpshooter Mounties is also impressive. 2. The endless deserts, snowfields, caves, bonfires, forest huts under the night, and silhouettes of galloping in the wilderness or riding against the stars at dusk... Roger Deakins' photography fully demonstrates the beauty of the West, Carter Burwell's score is also remarkable. 3. There is no shortage of Cohen-esque brushstrokes in the film—a world full of chance, impermanence, and out-of-control, like hanged strangers, riverside encounters after losing clues, misfired revolvers, and sudden blows from recoil and snake caves. 4. At the end, the "Wild West Show in History" circus not only refers to the end of the western pioneering era, but also declares the beginning of the construction and spread of western mythology. 5. The final vision silhouette is homogenous to [Unforgivable], but one room is missing. (9.0/10)

True Grit quotes

  • Mattie Ross: [Mattie tries to persuade LaBouef to continue the hunt with her] Have I held you back? I have a Colt's dragoon revolver which I know how to use, and I would be no more of a burden to you than I was to the marshal.

    LaBoeuf: That is not my worry. You have earned your spurs, that is clear enough... . you have been a regular old hand on the trail. But Cogburn is right, even if I would not give him the satisfaction of conceding it. The trail is cold, and I am... considerably diminished.

    Mattie Ross: How can you give up now, after the many months you've dedicated to finding Chaney? You have shown great determination. I misjudged you. I picked the wrong man.

    LaBoeuf: I would go on in your company if there were clear way to go. But we would be striking out blindly. Chelmsford is gone. We have chased him right off the map. There is nothing for it. I am bound for Texas, and it is time for you to go home too... . The marshal, when he sobers, is your way back.

    Mattie Ross: I will not go back! Not without Chaney, dead or alive.

    LaBoeuf: I misjudged you as well. I extend my hand.

    [He does, but Mattie does not take it]

    Mattie Ross: Mr. LaBoeuf! Please!

    LaBoeuf: [LaBoeuf keeps his hand extended; Mattie eventually squeezes it] Adios.

    [LaBoeuf rides away]

  • Mattie Ross: That is my father.

    Undertaker: If you would like to kiss him, it would be all right.

    Yarnell: He's gone to heaven. Praise the Lord.

    Mattie Ross: Why is it so much?

    Undertaker: The quality of the casket. And of the embalming. The lifelike appearance requires time and art. And the chemicals come dear. The particulars are in your bill.

    Undertaker: If you'd like to kiss him, it would be all right.

    Mattie Ross: Thank you, the spirit has flown.