Watching film notes-"Once Upon a Time in the West"

1. If the film has poetics, then "Once Upon a Time in the West" can be said to be a leader in film poetics and a model of narrative poetry. Sergio Leone’s stinginess with dialogue (even the passage before the train arrives), in exchange for characters, conflicts and suspense that rely mainly on visual and auditory construction. Before the start of the first duel, there was no line for nearly 10 minutes. The audience only looked forward to the arrival of the train in the boring, infinitely repeated door sway, the sound of the telegraph, and the close-up faces. The lines have almost become a sign of weakness and exaggeration in the film (except for Cheyenne). The protagonist of the deep hatred hardly utters a word, accompanied by his repeated and sad harmonica. 2. For Western films, this film is like an important part of the fossil evidence of the film. This is undoubtedly not a traditional west. The small town no longer grows slowly as the self-farming farmers expected, but rises along the railway, reminiscent of the small town of Macondo after the train. The most realistic era of liberalism that belonged to the west has passed, but the big capital from the east included everyone in it. The sheriff who upholds justice also has to assume the responsibility of directing the auction. The gunman is no longer a mere gunman, he will also act like a businessman. This is a new, capitalist legend, no longer a sacred and inviolable private property (Although Baine has a gun in his hand, he is unable to protect his land. The protagonist came here for revenge, and Cheyenne is probably mostly to be planted. And irritated), it is no longer fighting for justice, but the magical power of capital, connecting the desert to the sea and building the town on the sand. 3. From the narrative level, the west is only the background of the revenge story. The same story can be staged in different spaces, whether it is interstellar space or urban blocks. As the western pioneering history is gradually forgotten by people, the west has become The simple landscape constructed by genre films will eventually decline. 4. Civilization is a process of disenchantment. After the train passes, the cowboy will disappear, and the legend will also die. Civilization left no room for the cowboys, so they either returned to the wilderness or died in battle before the train opened. In the process of disenchantment, all legends have been dispelled, and they have been given rational explanations and meanings. The story is the opposite of the process of "re-enchantment". Only in the story, science, magic and cowboy have the same status, and become a little bit of comfort for the tired rationality in contemporary society. 5. I took a close look at the editing of the shootout scenes. Most of them are inseparable from the jumping axis in the drawing shots (first the panoramic confrontation before shooting on the left, the mid-range action of the shot person raising his hand first, and then because most people The gun is hung on the right hand side. At this time, jump to the waist of the right hand to shoot the gun and shoot, so you can see that the enemy has fallen) or a sudden change in rhythm (slow when confronting, fast when shooting), of course both Combination is more appropriate. I think the best thing to learn about this rhythm change is the Japanese samurai movie. Killing Bill is weak and weak because Quentin didn't learn this hand. As for why the rhythm is so admirable, Nietzsche believes that the rhythm of the rhythm and the modeling power of the rhythm are used to describe the state of the heliosphere, which is a happy appearance in eternal pain. 6. How much does Jiang Wen like this movie? I wonder if his old man fell in love with the steam locomotive first or the movie first.

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