Famous, well-established, skilled, and out of love for cinema, the Polanskis (Clint Eastwood, Woody Allen, Alan Resnais, etc.) risk repetition, retrogression, cliché The risk, regardless of age, filmed one after another. Seen that way, they are quite impressive. To the old cowboy Clint, with a bit of a joke: "There is inspiration, morality, hope, humanity, and sensationalism, the cowboy said: I am old, you can't make me change too much, besides, I It's like this from the beginning, if you love me like the French love me, keep on loving me; if you don't love me, it's like watching a fine Hollywood feature film, whether it's Columbia or Warner Bros. Produced, skip the title, and leave before the subtitles appear, it’s ok.” (Cowboy’s words are fictional) You must make a choice, you must make your own tastes clear, and for these directors who have a long creation time and a lot of works, you must be clear about yourself. Preferences. If you like Woody Allen, you must always like his words; if you accept the classic narrative, you will see the old cowboy as an eternal myth; if you like "the aesthetics of sitting", you can like dozens of Ozu's works with similar styles and contents. . If you like Polanski's consistent tone, you can like this "Shadow Writer".
Strictly speaking, this film did not bring any surprises, of course, did not miss, it is a standard work. The dark tones, cramped spaces, and tragic atmosphere are consistent with Polanski's previous works, but there are no surprises. What can be called fresh is that the innuendo in the film directly points to the former British Prime Minister in reality, while the actual edge points to the United States. It's at this point that Polanski's 1974 Chinatown has also played out murder and conspiracy, critiquing America's past. Even at the time, "Chinatown" was said to have a distinctly retro style, and when it was released, Polanski even said: "I like those clichés." Writer" is still an apt term. For fans of Polanski, as well as some fans of the classic suspense genre, Shadow Writer is a great meal. It has no obvious flaws, the story is smooth, and the atmosphere created by the previous foreshadowing for the last ten minutes is all successful. For others, in the now dazzling film list, this is just an ordinary work with commercial elements such as big stars, thrillers and suspense, but its tone is a bit different from mainstream commercial movies: dark, tragic and ubiquitous sin or conspiracy. Shadow Writer also has a "contribution" that, along with Shutter Island, adds two more entries to the long, nebulous history of film noir in the second decade of the new century.
Later in the film's production, Polanski was arrested by Swiss police for an old case many years ago, drawing attention to the director's turbulent and legendary experience. His mother died in a Nazi gas chamber, his wife and daughter were killed at home, and a 13-year-old girl was raped before leaving the United States. He had several romances and marriages, including with Natasha Kinski, then 16-year-old (daughter of German actor Klaus Kinski, who starred in Polanski's Tess, Wim • Wenders' "Paris, Texas," Paul Schrader's "Leopard Girl," etc.) cohabitation. These complex experiences naturally have some influences on his works. However, each of these staggering events, apart from being revealed in the film's gloomy style, did not make his work grotesquely distorted, violent and surly; Grandstanding, as Polanski puts it, he likes "cliches". Putting "Shadow Writer" in front of puritanical Americans with a strong sense of morality, a strong sense of the legal system, and conservative puritanical Americans, this is also a "gentleman" film that is not sharp, elegant intellectual satire, compared to Clint's "Changers". Doubtful Cloud's critique of American history, the metaphors implied in The Shadow Writer are considered very mild. The Americans had to say that this was a gentleman's film directed by a "rogue" director.
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