Second brush, I want to follow the timeline to taste the lens language and film art carefully~
? Opening: A large number of anthropomorphic long shots, panning with the pace of the child and the sound of the broadcast, opened the prologue of the film, and introduced each room and each character in turn without a word of nonsense (I remember Joe White was also very I like to use this technique, such as the title of "Pride and Prejudice", but in contrast, Wes Anderson’s shots are more polished and silky. It should be a long slide that has been painstakingly laid.)
The first space on the central axis: the three children are eating; the second space: Dad is setting up the table; the third space: Mom comes out smoking a cigarette; the fourth space: Suzy looks towards with a telescope Ahead. Boom, boom, boom, and boom, the four rhythms came out, and the personalities and hobbies of family members can also be roughly guessed (when it comes to the central axis, I suddenly thought of the Forbidden City)
The title says he has obsessive-compulsive disorder. I believe many people feel the same way. From the beginning of the movie, I tried to count the total number of symmetrical compositions, and then I gave up because there are too many to count. Hahahaha, Wes Anderson can be said to be symmetrical. A senior fan of composition.
?Then talk about music?: 1️⃣The playful horns and drums when the boy scout chief is on tour; 2️⃣The country pop music of two old men fishing with phone ringtones; 3️⃣The accordion+piano in the jungle when the two protagonists begin their adventure The sound?, as the protagonist’s pace quickens, the sound becomes rush, and finally stops suddenly; 4️⃣The pop music le temps de I'amour (the director gave the record player a close-up) while dancing on the beach is still rhythmic and the theme is clear. Meticulous.
By the way, the French kiss here is really shot from the perspective of teenagers haha: Sam spit on the side after kissing, Suzy looked at him in surprise, Sam explained that sand had entered his mouth, Suzy was relieved. Suzy then asked Sam if he would have a French kiss. Sam answered "I can try" and then took two subjective perspectives. "You can touch my chest, I think they are going to grow more." Very funny and pure
Unfortunately, I was caught the next morning, and Dad opened the tent⛺️It’s too funny here (yes, I don’t forget the symmetrical composition and actor scheduling at this time, maybe this is the director’s unassuming cold humor)
In addition to the extreme symmetrical composition during the early shooting, there are also three later "forced" symmetrical compositions in the film, that is, the "visibility" of the call. The sitting posture of the uncle on the left is really unchanged for thousands of years.
?Suzy's first-person view of the telescope divides the screen into two circles. It is through these two circles that she knows and feels the world. At the same time, she also has the meaning of prying. This technique appears repeatedly in the film, and I first came to the circular composition in Feng Xiaogang's "I Am Not Pan Jinlian".
Finally, the plot of mom shouting to eat with a megaphone was too funny. Sure enough, parents all over the world shouted at their children to eat with their throats and shouted several times before they were moved~
End
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