In the last month of 2020, Chinese audiences finally saw the first familiar faces of superheroes in theaters.
The author who participated in the zero-point show on the premiere day of "Wonder Woman 1984" captured the complex picture of all beings watching the movie at the first time. The snores and tears flew together, and the anger was moved together. This work did not bring the boringness of standard superhero films, but it inspired a wider range of complaints.
The lightning five consecutive whips from 1984, after all, wrongly paid 2020, which is not about martial arts.
things in fairy tale are lies
In 2020, when heroes are most needed, the superhero blockbuster attributes of "Wonder Woman 1984" seem a bit unreal.
In essence, this true story of the era, which is highly expected by fans around the world, has become a fairy tale with real private goods entrained by the director. As stated in the famous lyric "Fairy Tales Are All Lies", the main axis of the fairy tale "Wonder Woman 1984" is also lies.
The biggest villain created by the film is Max Lord (Pedro Pascal), a businessman who preaches on TV with empty gloves and white wolves. And the power that helped him on the road to destroy the world came from the God of Lies who wrecked the world with wishing crystals.
The liar signed a contract with the devil, and the world naturally became purgatory after the explosion of group desires. Mastering human desires, the villain's deterrent power is even far higher than the authoritarianism written by George Orwell in "1984".
But just when the audience who has experienced the long literary drama is looking forward to how the final battle will reverse the world, the film only gives the Leopard Girl "scratching" the golden armor and the Wonder Woman's preaching to persuade people to be kind- - Ironically, the way she communicates with the world is also the villain who uses lies to fool the global TV broadcast signals.
The logic of wishing is hard to scrutinize, and the solution to the predicament relies on self-consciousness. The almost single-threaded plot is even more naive under the dilemma of the action scene being dropped.
In fact, the whole film has a sense of ritual of a "fairy tale" in the foreshadowing stage.
The "Olympic" on Paradise Island, which is full of excitement and surprises at the beginning, not only taught the young Diana the truth that "you can't lie", but also automatically put a child's perspective on the audience. Wonder Woman's debut in the context of 1984 formally exposed the film's child-oriented preferences with "Home Alone"-style hilarity.
Under the guidance of increasingly conservative Hollywood values, such an expression of "sub-supply" not only hurts the "dark" expectations of DC fans, but also makes the director's intention to criticize a certain Internet celebrity politician with the villain's appearance and words and deeds become a farce.
The film's schedule coincides with the politician's defeat in the election. In contrast to the so-called "sowing goodwill to 2020" of the outdated film from a critical point of view, it is still the unsolved international security order under the epidemic.
Beyond mythology, love will disappear
The 151-minute film length is a red flag for superhero movies that focus on personal lines: the visual spectacle that the genre relies on, the rapidly burning funds will increase infinitely; "Burn".
"Wonder Woman 1984", which was widely criticized for the latter, even went even more decisively on this road-because under the premise of Diana's wish to recall her boyfriend, all the inaccuracy of the action scenes depended on her divine power Gradually lose the muddle through.
For the audience who came for the superhero type, this was tantamount to a fatal blow. Many dissatisfied audiences blame love for "squeezing" all the expected breaking points, but what the film breaks on the emotional line is precisely the general paradigm of love myth.
If you get through the logic of the whole film, you will find that the love between Diana and Steve is just an aftertaste under the filter of reality.
Steve, who was recalled by the wishing lie, not only lived on passersby in appearance, but his consciousness was only Diana's projection of his memories; the most tearful parting moment was actually just Diana's letting go of her obsession.
In the writing of the love scene, the director also completely turned Steven into a "prop": in addition to being a sensor for crossing the ages, it only played a spiritual auxiliary role in Diana's process of riding the wind and waves, and even this " The absence of "non-physical" men can restore the power of women.
Such brushstrokes have always been the forte of director Patty Jenkins. In "The Devil", which made Charlize Theron break through the vase play path and won the Oscar for best actress, the director who first directed the tube used an intuitive perspective opposed to patriarchy. Expression is just the emotional container for the ups and downs of female consciousness.
It's a pity that "Wonder Woman 1984" failed to make Diana's growth deeply rooted in the hearts and minds like "The Devil", and it was only superficial in the role of the Leopard Girl, which was the closest to the expression.
After the Leopard Girl got her wish, the standard of dressing to please men's aesthetics has long been directly doomed to her unbearable status in this anti-patriarchal system. It is conceivable that Leopard Girl's indecision on whether or not to give up her desire to be constructed by male lies before she goes offline will become the foundation for her future survival in the series.
This is not a thorough self-selection or awakening, and it also cannot provide an answer for 2020, which is coming to an end. The 2021 that is about to start anew, how will you respond under the rose filter of fairy tales?
[Original public account "Today's Film Review Mtalk" 20201222]
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