Everyone is asking a primitive but hostile question: What is so good about "Gravity"?
I think that when you watch a movie, you will have a sense of full participation in the matter of evaluation, and you will actively and constructively interpret everything that appears in the movie, you must watch a good movie. .
What can technology replace?
What "Gravity" hopes to achieve is minimalism. All the content has been simplified; one of the most basic ideas was taken to the core and strengthened in every possible way: escape from space. The themes of movies have gradually overflowed and overlapped, and the idea of escape is not uncommon. What "Gravity" does is just a little bit of clean water and the finishing touch: the theme of "escape" is placed in the vast space, and it is instantly "closed". The major elements of "no foreign aid," "danger," and "survival" have been scaled up and expanded to the length of a movie, and more importantly, become a "new" story.
Almost every Hollywood movie has been criticized as "I can't tell a story" or "I can guess the story", but it is undeniable that this is the best plot that has been proven through the narrative experience of countless movies. One of the organization methods. Does "Gravity" have a plot? Yes, you can also say no. What the screenwriter does is to accurately grasp the usual plot points of Hollywood commercial films, and complete the most standard climax creation one by one.
We often say "convergence, inheritance and integration", and the proficient Hollywood film production for so many years has long been able to arrange important points for the film plot, and orderly distribute the origin, development, setbacks, small climax and climax of the script. Here, the performance of "Gravity" is almost naked; the space shuttle explosion is the origin, coupled with the shocking 3D effect of space junk; the search for the International Space Station is the development and the small climax, interspersed with the emotional life and death of the characters; the despair of the heroine Rekindling vitality is a setback, completing the construction of the psychological drama and the shaping of the character's behavior logic; the final return to the earth by the Shenzhou spacecraft is the final climax. And because of the strong creativity of the story and the minimalist approach, the performance of the plot chain is almost deliberate and direct. What the screenwriter does is just turn an idea into a story, no ambition, nothing else.
Why should the plot be so streamlined? This is the trade-off that Alfonso Cuarón had to make when shooting. Narration is a kind of pressure, a kind of pressure that forces the narrator to become mediocre, a kind of threat that makes the feeling dull and the instantaneous power is dispelled. If the narrator is full of expressive desires, all he has to do is to suppress desires in a suitable and balanced period. Shooting in space has been the director's dream for many years, so it is not difficult to understand the ambition of the director and the entire production team: and this ambition for "space film" is undoubtedly the form first.
Movies are "dream machines". When the audience puts on the 3D glasses, they suddenly find themselves as if they are beside an astronaut, with a three-dimensional and vast blue planet in front of them. The whole body is weightless like an astronaut, floating and dizzy, floating in the vast dark vacuum, closed and isolated. Helpless, nature and the universe make no secret of it, when the broad and indulgent beauty floods the screen, the "dream machine" succeeds. The centuries of time and hard work of the filmmakers are just to keep the audience still sitting in the movie theater. Today, they have filmed a "Gravity", which not only allows the audience to see the depth of field and the screen, but also pulls the audience directly into the screen and into space, making the audience realize that they are sitting at home downloading or facing the TV It is meaningless to watch this movie.
What can technology replace? In fact, sometimes, we are used to the cliché that "technology can't replace everything", but forget what we really want when we pursue the plot. What we want is nothing more than emotional touch and rational thinking, and these can be done by any artistic method if it is done to the extreme. If we want so much, we will always lose something else. For "Gravity", the universe is the soul, and it cannot be discarded; the form is the content, but everything else.
What do you want to tell us?
Another question we ran into was: what does this movie tell us? The simple story of a female astronaut traveling to and from three countries' aircraft, and finally returning to Earth after untold hardships. What does it tell us? From a certain perspective, "Gravity" doesn't say anything; it can also be said that "Gravity" says too much.
We are really too focused on the "central idea". Our painstaking comments and analysis of a work of art are just to dig out a "central idea"; or sometimes we are aware of the complexity and diversity of the work, So we focused on "ideological nature" and focused on digging "connotation". In fact, we are in the cinema, taking up 3D glasses and flying into space, facing weightlessness, fear and the boundlessness of the universe, we instinctively open our eyes.
"We have done a little bit of philosophical poems, and we often find that the content is nothing more than clichés about human morality or fate. Like the mysticism in the works of the Victorian poets like Browning. Sentences once enlightened many readers, but today they are nothing more than pocket editions of primitive truths."-Wellek, Warren's "Literary Theory"
thought is a necessity, not a show off. One year ago, when "The Fantasy Drifting of the Youth Pie" became popular all over the world, I quietly stared at the screen, as if staring at Li Ang's sly eyes. In fact, religion is just a cover, and the discussion of ideological content is actually just a blindfold, and what really belongs to Ang Lee is the kind of tolerance and quiet Eastern wisdom. "Da Yin Xi Sheng". Unfortunately, even though Alfonso Cuarón, as an excellent son and daughter of the party who "buried loyal bones in front of the White House", spread the reputation of Tiangong and Shenzhou to the world, he still fell short. No, "Gravity" doesn't say nothing, it says a bit too much.
Because when the basic plot framework and plot rhythm reach a perfect point, the mediocrity and lack of talent of the screenwriter are undoubtedly obvious. As a Hollywood story, increasing the protagonist’s inner drama and psychological struggle is completely a utilitarian "acceptance calculation", enhancing the character of the supporting character, making it impressive, and even commercialized bargaining. The previous "Thor 2" is an expert in this area, and the screenwriter of "Gravity" can only be a perfunctory powerlessness.
What did the screenwriter add to the shaping of the role? It is the heroine who had lost her beloved daughter before and has no confidence in life; what is the character created for George Clooney? It is the image of a chattering, annoying, interesting, trustworthy uncle at the critical moment. All this is so Hollywood and cliche that in the end Clooney’s vision inspires the heroine to reinvigorate the line, and even what he said is weakened; this line is lifeless, without new ideas, clichés, and so on. People can’t bear to listen, and what’s even more frightening is that these boring “connotations” fill up the whole movie. In fact, they just lower the grade of the whole movie—it makes the movie "Gravity". Movies are reduced to a pot of cheap spiritual chicken soup of "how to get out of the pain of loss of loved ones" and "how to reinvigorate the love of life".
What "Gravity" should really leave us, I think the language should be difficult to describe. Quietly recalling our shock, worship, tension, excitement and tears before the screen, we are based on the greatness and insignificance of the entire world, our strength to move forward, the burden of life and the weight of the weight, the progress of mankind on the avenue of time , Frustration and a flash of hope. This is enough. This is the greatest connotation. Say nothing, we all know it well and nod our heads in praise.
Perhaps it is to be filmed as a Hollywood commercial film that technology can truly turn the film into a perfect "dream machine"; but at the same time, it is Hollywood's clichés and vulgarity that almost conceal the brilliance of technology and humanity. I know this is the inevitable result of helplessness. It is a balance after compromise; but I still want to say in the end, let’s say a little bit less, "Gravity", the sound is very loud, you are so far away, just short of these voices .
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