The second screening day of the main competition unit of the 17th Faroe Island Film Festival will bring you "Mozart". Below, please see the jealous evaluation of the front-line court musicians!
Spy Liu:
Stupid self annoyed, just joking.
fire_storm:
The gap between good and excellent is that line of madness.
Psychedelic Muffins:
I have to say that the European historical films made in the United States have a copycat flavor.
Matsuno empty pine:
Three hours is really terrible, but the music is very nice, and the laughter of mediocrity and Mozart at the end sublimate the whole movie.
Catcatcatyang:
Too American. I am very unlucky. The only thing I can see is Mozart's last night. "I know how things work here."
Wang Zi puppy:
Smooth and smooth narrative. The highlight is the obvious "adversary" perspective. Such an opponent is so rare that such a biographical film cannot be copied.
Huang Shengyun Lolita:
Narrating Mozart's story through the perspective of Mozart's opponent is very novel for biopics of the same subject. The arrangement and use of music is the most commendable, and the gorgeous and abundance of music allows laymen to fully feel the power of Mozart.
Dazhao:
The dramatization is combined with the gorgeous and exquisite service, and it will not be boring for nearly three hours. Mozart's opera runs through the whole film. We all like this kind of story of a genius boy. The main thing is to choose the music well.
RIVER:
The more I watch it, the more I like it, no doubt a masterpiece of biopic. All aspects are truly impeccable. The psychological portrayal of Salieri and the portrayal of Mozart's genius but unsound personality are three points, but I feel so bad. Just like Salieri's music, there is always so little from the voice of God, this movie seems to be a little short of the talent to break through the shackles.
Donnie:
Mozart’s music is really enjoyable. The acting of the priest and the old man fools me, but the film itself is really not worthy of the name "Mozart". The whole film is all about the grudge between an unnecessarily person and Mozart (although it also discusses the relationship between the so-called mediocrity and genius), and for Mozart's own real growth experience, only mentions his father without mentioning Mr. Haydn? This is too American to tamper with history, not to mention the brutality of speaking English in the whole film. In short, I did not do anything that can respect Mozart.
Full of Zhao+:
It’s wonderful, “Kill him if you love him.” From Salieri’s perspective, I feel more of Mozart’s sorrow as a genius. Even though he is a genius, he is still not subject to reuse, hardship, and censorship during his lifetime. Struggling with the system and passing away tragically. The works continue to live in future generations, but everyone wants to live to feel that their works are loved. The large sections of the opera are great, many interspersed with monologues, how great would it be to present these sections on the stage at the same time. The censorship period is also very interesting, and creators have been struggling throughout the ages. Mozart's wife is so beautiful.
Pincent:
In religious films, Wolfgang is a mirror, reflecting the defects of human nature, the loss of faith, and the misunderstanding of God. The times are not worthy of genius, creation is free and unlimited, and it must conflict with the essence of the aristocracy. The film should also be about censorship. In the face of censorship, Wolfgang directly keeps the traces of deletion and let the viewers feel it. . The ending is almost a spiritual horror, and I know this horror after reading a blog and being urged on a paper. More than 90% of indoor or stage plays make this film very suitable for stage play, so it is also very good to be loyal to the original NTlive version. In fact, it is very popular and humorous, and three hours of guiding the editing of the version quickly passed.
O. Yin:
I watched it over and over for three hours, most of the time I was full of interest, and finally drowsy, but it may be said that this is a work that is excellent in all aspects in the general sense, but it is more than regular and lacks vitality. Foreman chose the perspective of "Mediocre" to complete Mozart's "genius" narrative. It is a brilliant pen, but it is not praiseworthy. The completed image of Mozart did not jump out of expectations, even slightly ambiguous and contradictory, and did not describe it in depth. Let Salieri take the lead. Perhaps this was the director's intention, but in essence, Salieri's and Mozart's counterpoint between "Mediocre" and "Genius" does not hold true. As ordinary people, you and I cannot get a sincere understanding from it.
Cangshan ancient well air to the moon:
Unfold Mozart's legend with Salieri's memories. On the one hand, the audience can appreciate Mozart's music from the eyes of Salieri's music experts, and on the other hand, Mozart is placed on the altar. He is a narrated legend. , The audience is in the position of a story listener like a priest. Seeing Mozart's words, deeds and deeds from the eyes of onlookers makes Mozart's image non-qualitative, but in this way the audience feels more of Salieri's inner complexity, and it is difficult to penetrate Mozart's heart. Occasionally, some plots that are not from Salieri's perspective are attractive, with the feeling that this is "Mozart" rather than "Salieri". At the end, I like the plot of Mozart and Salieri co-creating the Requiem. Mozart himself will show off his musical talent instead of relying on narration.
No one at midnight:
Only the theme of "reverse writing genius from the perspective of mediocrity" is interesting in itself. Dare to "overwhelm the host" is indeed a break in the filming of biopics, but in fact the confrontation between the two characters is very similar to the Hollywood template. Narrative. Under the stereotyped image, the genius is still an innocent but stubborn lunatic, and the mediocre will always act as the conspirator who keeps on attacking privately and prejudiced. This kind of relationship combination can essentially be replaced by anyone, and it doesn’t have to be Mozart and Salieri; the trend of this kind of relationship pattern does not have to be duality, love and killing, but it can also have a deep soul. Compassionate and sympathetic to each other. Therefore, the "Fast Night" where the two people finally join hands is the most beautiful chapter in the whole movie. Unfortunately, it is too little and too late. From the beginning of the film flashbacks, the audience is already watching the "repentance." The guilt of "and", in the end, the emotion has been diluted to the point that there is not much left. The most unfortunate thing is that Foreman, who was able to shoot "Firefighters' Ball", could only produce products such as "Flying Over the Cuckoo's Asylum" and "Mozart" after he came to the United States.
The main competition section of DAY2 will be released later, please wait and see.
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