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Every one of his movies is his best movie
Desiree 2022-10-10 22:23:40
On the surface, it seems that the Mahler people return to their basics and use minimalist lenses throughout the year. It seems that any master has similar tendencies and states in his later years. Actually I don't think so. The key to Mahler's ability to be called a film master rather than a film author lies in his practice of film language rather than his retelling of film meaning. For example, when he wanted to tell the story of Chekhov's "Uncle Wanya", he first thought of how to tell the story, and then shared with the audience the various aspects of the meaning of the film in the process of telling the story, not him. To educate the audience about the enlightenment obtained by the story of "Uncle Wanya" after personal digestion. Through this "Wanya at 42nd Street", it can be found that Mahler's film practice activities first benefited from Brecht's theatrical proposition, explaining society to the audience, rather than simply showing it. It first stimulates the audience's thoughts, not feelings. When watching this movie, fortunately, I broke away from the attention to the plot revelation in time (actually, when I didn't understand it), and gave up my previous experience of watching movies. What I saw later was An existential picture, a feeling of ease and freedom that has never been seen before. Secondly, I personally have a little understanding that perhaps Mahler's bigger ambition in "Wan Ya at 42nd Street" is to completely cut the line with romanticism and realism, which is a bit different from Barth's concept. coincide. Although there have been ups and downs in his film creation career, throughout his life, he has been innovating and changing all the time, and his artistic value can be described as a straight line. So I personally think this "Wanya at 42nd Street" is Mahler's best work in his life. It's a pity that this period was drawn too early.
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