Since last year's [Big Fish], I have rarely seen a decent magic realism movie, and I don't expect Tim Burton to build us colorful blocks again to build a quiet paradise, that pure Some wishful thinking. So I went to read [One Hundred Years of Solitude], who knew that García Márquez's writing was too deep, and the shocking reality was wrapped in deification, allusions and legends. It was not only a colorful and dazzling picture, but also a dazzling picture. Many times, I seem to be involved in a magical world where the real and the fake are intertwined, and the feeling is as captivating as "the shrill screams of the wild grass grow" in the book. The artistic connotation of [One Hundred Years of Solitude] is too sharp and too tragic, and only the strong sense of loneliness and fate is far from the innocence and tranquility of [Big Fish] and Burton.
Later, someone said that [Magic City] is magical realism. I really wondered for a while. Can a fictional character be called a magical reality by covering it with a bizarre magical coat? After that, I don't dare to give this big hat to Tim Burton's movies. [Batman], [Edward Scissorhands], [Sleepy Hollow], etc. I call them surreal and there is magic flowing in them. blood, so that I can happily use the words magic and reality in Burton's films, without tarnishing the extraordinary name of magic reality.
This year Hollywood has launched a film that is close to a fairy tale, [Finding Neverland]. Although it has a little "kinship" relationship with magic, it still repeats the criticism that Hollywood loves to brush the ball. Peter Pan has been put on the screen time and time again, and it's been tried and tested. From Disney's old version of [Peter Pan], to [Captain Hook] in '91, to last year's live-action version of [Peter Pan], I can only say that it's getting farther and farther from our expectations.
And this [Finding Neverland] is no longer entangled in building beautiful fairy tales with unrestrained imagination, in order to win the love and innocence of the whole world, it changes the perspective, starting from the writer James Barry who wrote Peter Pan, calm and not Lost in humor describes the writer's unusual creative life. What I had hoped for was a Burton-esque, weird, surreal fantasy film that was expressed by its director, Marc Forster, in a language of innocence, simplicity and tenderness. It sheds the cruelty and coldness of the world under Burton's bizarre images, and replaces it with adult fairy tales skillfully combined with warmth and realistic stories skillfully combined with fairy tales.
The story of the film is very simple. James Barry (Johnny Depp), a writer, has a virtuous and beautiful wife, and the screenplay he wrote also enjoys a high reputation. However, his enthusiasm for creation faded several times, and he walked in Kensington Park every day, perhaps looking for inspiration or solace. One day, he met Sylvia (Kate Winslet) and her four children who were walking in the park together. The innocence of the four children and the melancholy and withdrawn temperament of little Peter deeply attracted him. While playing with these fatherless children, he learned the inner desires of the children, and the sense of responsibility that arises spontaneously also inspired him to create. Gradually, he seemed to have an air of obstinate desire to stay, half mad, half gentle. Life has become rich and full of fantasy, and any extravagant hope will be realized in fantasy, in a place that is far away and close at hand.
Barry has had a dream since he was a child, a place with fairies, pirates, and the fragrance of pine resin. However, such an extravagant dream was bound to be quiet and isolated by reality, and even Barry's wife, Maria, did not touch the edge of it at all. Barry promised it was paradise, but he didn't promise his wife, Sylvia, who was seriously ill, and her children ended up in this dreamy place - Neverland.
This film does not keep Neverland in Barry's dream, and makes the dream the only destination of Neverland. The screenwriter skillfully reproduces the world in people's dreams with the staged drama, and makes the characters' emotional catharsis in the dream through layers of foreshadowing. The highest point is reached when the island appears. Timely emotional catharsis is what we call "resonance", and I want to see the end of the film where we will all be convinced that there is such a place, such a carefree place where we can fly freely. At the end of the film, Peter hugged Barry tightly and called out "I can see her", which seemed to repeat everyone's hope for their dreams.
As for dreams, it is a place where people who have lost their taste cannot stop. I once read a few poems like this: Dreaming of life/A wordless story happened/I believed it/Ambush at the intersection of day and night/Just waiting for me to stumble. This seemingly peaceful look at the world makes us feel the urge to repent. But whether it is comforting life or admonishing life, in this dream-like season, the snow outside the window floats the whole world, if we still speculate on jealousy and insidiousness, our bodies will be peeled off and only bones are left. It's better to step on the white snow under your feet, as gentle and soft as you step on the clouds. Maybe your feet are that piece of pure land, that dreamy place that no one else can set foot in.
04/12/29 11:47 Daxue published in Guangzhou New Express on December 31
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