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The serial double cannons of "Blasting Drummer" and "City of Philharmonic" made Damien Chazelle's story of chasing movie dreams gradually become widely known.
"City of Philharmonic" was the earliest inspiration and original script. That was the story of 2010, but no big guy wanted to pay attention to a hairy guy. At the foot of the Hollywood hills, if you drive into someone at random, he may have a stack of scripts in his hands. Damian could only save the country by curve, and wrote a more personal script, which was later "Burst Drummer". Someone expressed interest in the script. It is also on the list among the good scripts that were not filmed that year. But the management still couldn't believe that he could hold all this. As a result, he could only start with a short film of "Burst Drummer". One day in the future, including after the Oscar rivalry, Damian will also become a new version of the Hollywood myth.
At the beginning of this story, Damian has a strong dream color. Although it is not like Li Ang, who needs to overcome huge obstacles, it can be called a twists and turns. Putting the director's story in the "City of Philharmonic", it is not difficult to find that two lovers who have a sharp heart and tear their faces for adhering to principles will quietly separate because of their dreams. Or maybe the audience made a mistake at the beginning. They are more eager for the fruit of their dreams than love, that is: success. But there is nothing wrong with success. If you don't steal or snatch, you won't betray yourself and you won't break the rules. Success is worthy of encouragement and recognition. The Hollywood myth is of course also part of the American dream. Through hard work, courage, creativity, belief and determination, you will be able to get the belief in a better life in the United States, as well as material satisfaction and fame and fortune. This is especially true in Hollywood, sometimes even more naked, regardless of principle. In the violent quarrel between the two people, Sister Stone angrily rebuked Commander Gao for not insisting on his jazz dream, and ran to the pop music stage to get satisfaction and pleasure. She herself was frustrated and rolled back to her hometown to heal because there were too few people watching the drama. But in my opinion, this is just a fuss before death. Before ending the Parallel World Killer, Sister Stone lived the luxurious life of a Hollywood star, but Commander Gao returned to his past self. No one knows exactly why in the middle. In fact, the movie did not intend to tell the audience why. There is only one unsentimental transition subtitle: five years later.
In the climax that would be mistaken for "flashbacks" by many viewers, "La La LaLaLa" seems to tell the audience: Misses, regrets, and even errors are all part of life and dreams. You can think that the last thing Commander High did was more advanced than what he was once complacent about. You can also think that it is inevitable for the two to separate in life, and Shitou found what she wanted in life. In the perfect version of love and life, everything has been reasonably explained and developed. At every juncture that requires luck, choice and mediation, the goddess of fate will stand by our movie protagonist. But the fact is that there is no single, correct, and reasonable answer option in life. Therefore, we see that Commander Gao and Sister Stone seem to have completed a role position swap. At different stages of life, they adjusted the dance steps that suit them. Many people’s confusion lies in the fact that if they realize their dreams and go beyond love, what will impress the audience is the love itself in another parallel world that has never been realized as a perfect dream. This sounds a bit paradoxical, but it seems to have become a bargaining chip for this movie to buy away. Before arguing whether love or dream is more important, people should realize that there is no such thing as perfect love in the world, but only two suitable people, or chasing perfect love.
Just as the line summed up in "Millennium Actress": After all, what I really love is the journey of chasing him. Dreams are self-realization, and dreams also include things above dreams. As people ridicule: dreams still have to be there, in case it comes true. This is the reason for the high commander to scold Sister Shitou. After that, the dream ceases to exist or is shattered. Or, the dream has always existed as a specific, specific, and target dream. A lot of celebrity biographies tell us that realizing dreams will also be accompanied by a bad process: one day you will suddenly realize that you have become the kind of person you once hated. But this does not mean that people should not pursue their dreams. It is self-doubt and continuous denial—continuous correction, adjustment, and overthrow of the renewed dream of life, guiding human beings as a civilized creature to retain those truths and goodness, to pursue better and noble art, and influence later Those who receive more worship and worship. So in my opinion, "City of Philharmonic" certainly has a lot of direct tribute to musicals and old movies, and even the discussion of jazz improvisation, including the ending A ONE AND A TWO, will make me wonderfully tuned to Yang Dechang’s channel "Yi Yi" shows the first love, marriage, birth, old age, sickness and death of Orientals, children and old lovers. No matter how strong the color of love is, it is just a movement of walking the road of life. Regardless of song, dance and music, they are originally wonderful whims that breed in Los Angeles (LA, Hollywood) and the world of movies. The genre of song and dance film originally has the form of "out of my world". Therefore, the most important thing in "City of Philharmonic" is "we will see each other again", not please hug me when we see you again, and what we become like when we see you again. See also: Knowing that things change constantly, movies are eternal, let us meet each other in movies
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