People will find a problem after watching literary films for a long time. People are in an extremely realistic environment and have to face all kinds of dross in life. Then there are two ways. Either escape into their own fictional poetic world. The common way is to put suffering Sacred, completely separate yourself from what you are going through at the moment, or calmly narrate life, and use lens language to instill warmth in details, such as "Little Shoes".
Or it is to purify the pain, like the flower of evil, to repeatedly render the gray of reality until the primary color cannot be seen clearly, and the world of pure evil will become a world of pure beauty, such as "Break and Silence".
Brazil's two ends are tilted on the other side, and the result of playing fifty big boards on each side is that you know that both sides are doing very incomplete, "perfunctory" audiences can see that your director does not want to explain either side at all, although In general, I prefer not to give you a realistic basis to imagine (if Brazil is realistic, then it is acceptable. If you watch the tone of "The Brothers Grimm", you should know that half of the director's shots can't be trusted).
The male protagonist is a very strange person. He can get along very well with a certain part of this system. In this department, he is a good helper to the leader. He is the only serious and dedicated employee in his post. His imagination is bizarre and incomplete, and he responds to the inevitable scrutiny with a "flight" attitude, first of all, he understands how powerful and irresistible the system is. The heroine's attitude towards the system is that of a "most ordinary" free citizen, full of folk wisdom that is not "hard". In this comparison, the male protagonist is an "idealized" endorsement, while the female protagonist is a "realistic" endorsement, which is completely opposite to their identities. First of all, this is a kind of tug-saw set in the plot, and this kind of tug-saw is also reflected in the layout of the picture.
The use of symmetry in scenes is common, but instead of bringing a sense of solemnity or reality, symmetry brings out a sense of humor or depression. When the male protagonist walks into the office, and the corridor where the male protagonist's friend's workplace is located. A typical scene where the male protagonist is tortured by his friends under the grand background is the scene. The huge execution ground looks like an abandoned factory. It is first focused on the seat of the torture tool where the male protagonist is, and then the The scope of the lens is expanded to show the entire environment in which it is located, and finally it returns to the male protagonist on the torture instrument and the friend who has already put on the mask. In the same way, reality and fantasy also start from the torture itself, from the fantasy of air-conditioning workers to save themselves. The movie is in a fantasy like reality. According to the writing style of "1984", we can speculate that in such a world, male The Lord may have hope all along, but there will never be a miracle.
In the movie, the setting of the female protagonist strengthens the unrealistic meaning to some extent. First of all, her image first appeared in the male protagonist's dream, a classical image of a beauty: "Long blonde hair, suspected of Rome She was locked in a cage, waiting for a flying knight, that is, the rescue of the male protagonist. The male protagonist wore a metallic warrior makeup and was dressed in flying armor. There are two forces to fight, one is the crawling slaves on the ground, who appear in the image of ordinary people who are harmed by the system served by the male protagonist, dressed in tattered black prison uniforms, and the other is the powerful, dressed in Japanese Theatrical costumes, where the beauty is "powerless", and the hero overcomes difficulties to come to the beauty for "rescue" activities.
But in reality, the male protagonist is hesitant in the system, and only after seeing the "dream girl" shows the courage after being suppressed for a long time, and this kind of bravery is very pure "romanticism", under the background of extreme reality It seems very comical and unreal romanticism. Including grabbing the front shield of the speeding truck to approach the heroine. The heroine, however, is engaged in real work, and wears a capable image of tooling. Even the short hair and long hair distinguish the dream beauties from the real heroines.
If I say I don't like Brazil's film, it's not about the subject matter or the scene. In the films dedicated to 1984, the elements of the film presented are similar, about the individual's cornering in the bureaucracy, about upholding romance How the screw in the system of the dream ofism lived a double-sided life, and finally tried to escape and failed. It is about the plot where the illusion between people and people who want to trust each other is finally shattered. But what I would prefer is that trust and love did happen, but that thing shattered under some kind of force majeure, and the movie first established that beautiful, "steady" emotion in front of you, and then This connection has been blown away or broken by hammer. The former is an oriental one-off meeting, while the latter is a modern-style force majeure or a classical-style tragedy of fate.
But in the relationship of modernity, there is almost no "solid" thing in the middle. There is neither a stable relationship nor a stable relationship (just like the age relationship and the relationship between the male protagonist and his mother, the mother will become a skinny at all costs. Looking young) personal pursuit (is the male protagonist's dream about beauty real?), everyone lives in an atmosphere of perfunctory mutual flattery, and the relationship itself looks like an expressionist performance, Full of meanings that are given without naturally "growing out" from within. So the meaning is "floating", and no matter how realistic the plot environment is, it will be like sleepwalking. That's probably why I can't like Brazil.
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