want to talk about Vincent Gallo's Brown Rabbit about
Gallo Gallo running away at 16 and taking three boxes of
Canned food stolen from a working grocery store, came to New York alone, a dirty and rich city on the other side, during the "Downtown New Wave" period, Gallo spent all day in clubs and mixed with New York's underground artists Together. In the summer of 1978, he wandered in Europe and was proud to discover that he could make a living by painting. Back in New York, he lived in Little Italy and was deeply impressed by the 8mm films made by his friends. He started to make super 8mm short films, painted, sculpted, wrote poems, appeared frequently in TV dramas and underground movies, and also Trying to make a difference in music, he even played in several bands. He felt that painting was what he wanted to do the most. He painted on mottled metal sheets. Those works looked like relics from another world. As he said, they were just metaphors in his own memory. He was also obsessed with motorcycle racing for a while, and it is said that he decided to become an actor because it was too dangerous. In 1983, Eric Mitchell gave him not only a role, but also the soundtrack to The Way It Is, or Eurydice of the Avenues, which ended up getting Gallo a prize at the Berlin Film Festival. Best Music Award.
It was not until the 1990s that Vincent Gallo began to appear on the screen. Although most of the time he was only a supporting role to earn a living capital, he had a natural and strong sense of existence, just like Jane Fonda. It is unforgettable and has gradually attracted the attention of quite a few fans. It was not until 1998 that he launched the black comedy "Buffalo 66", which he wrote, directed, starred in, and scored, and then began to show his talents to the world.
called bud cray
A motorcycle racer, the shadow of Vincent Gallo in this article, traveled through the 5th, rushing to the next race location. It is not so much the 5 days of constant search, but the 5 days of deliberately lost. If it is said that Nagagawa Kawatanihiko was trapped by obsession at the end of "Youth Killer" and fled desperately, while Bud, Bud Cray - in Murakami's novel, that is, at the end of the world, did not abandon his own Those who are trapped by shadows flee in vain in order to stay in the past with all their might, and through this, they constantly discard or seek or create the part of themselves that once belonged to them. To escape (abandonment), to run wildly in vain, but in the end still go to the sad past, to appease the sad, and constantly create (search), destined to be sad.
Every time he encounters a woman, Bud always drives away in disappointment, leaving behind his mutilated body, and his grief is completely preserved. Gallo consumes a considerable amount of film in front of the driver's seat of that battered van. Trees, lawns, telephone poles, street lights, sad clouds, and passing winds... Everything was just made, but was quickly destroyed. Scroll to the back of the camera. What kind of scenery, all disappear, for Bud, what is in front of him is the past, but the real past is always in front of him. Beneath the wind-ruffled hair are eyes that can never see reality again, soaked in the past and have not woken up for many years.
Walking with a shadow, or a shadow separated by life, can't survive
an empty world. At the end of the world
, Bard is running wildly beside the empty and desolate highway, heading for the depths of nothingness, the sun is dazzling, and the motor squeaks and sounds in his ears. The wind whimpered weakly. An escape destined to have no result, no direction to go.
The film develops with the time of the protagonist, such as the river is calm and soothing, and there are sad songs.
This is a fictional world of Gallo, in which Bud has nothing but the past, as suggested by the part of riding a bicycle in a dry salt lake, the whole world is endless and empty, hot and desolate in the sun. Just with a shadow, aimlessly towards the phantom in the distance.
The brown rabbit has only appeared twice, the actual meaning has been lost, and here it has become an unrealistic symbol: the past, and Budd himself - it is understandable that Budd wants to get rid of the non-reality of existence ( or the futility and contradiction of retaining the non-existent reality.
Compared with Buffalo 66, there is no so-called salvation, perhaps this so-called thing has never existed. What really existed seemed to be the barren, pale, lifeless dry salt lake that appeared in Gallo's mind, with only the wind and the phantom swaying in the sun.
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