8.0
In order to commemorate the 80th anniversary of the film, the director's cut has the opportunity to be retrieved and released. If there is a chance, I would like to see the whole picture. Classical music is different from folk music, the latter responds to reality, but the former is detached, it is separated from this time, this space, or other conditions, it cannot be specifically summarized, and the heavy feeling is different from popular music; even if this work comes out After the studios intervened, I still think it's perfect, except that it's working in the opposite direction of these American genres, something like Last Year at Marienbad, and the context is much clearer. I also don't know how to describe this film, either it's too nuanced, it seems that I can't grasp the important point, or it is too grand, and it seems that I can't see the important point. There are countless characters in this story, but there is only one starting point, which is George Amberson. No matter how stupefying Eugene Morgan's awe-inspiring face is played by Joseph Cotton, this is still the story of George Amberson, the story of a rich man who lost all his fortune, Di Xin of the Shang Dynasty. You see, this is too grand at the same time too small, and nothing is said.
The mise-en-scène in "The Great Amberson" is garish and eye-catching, but the best part is that it doesn't get us out of the way, it's just getting deeper and deeper into the town of Midland. Alone in this outdated city, living the complete opposite of the front-runners and self-righteously mistaking oneself for the measure of all things, that's the whole world, until Eugene Morgan shows up - and you never see it Such a refined punchline, "because the faster we go, the less time it takes". This is Orson Welles' recollection of the so-called "George Amberson", and the latter is even just a symbol, so we see many places that are different from those common types of film beliefs, the ghostly subjective lens is missing, Then there is the tireless close-up of those imperceptible expressions, and the most hated of British audiences, forcing people to stare at the empty environment, the third-person narration is mixed with the supplementary words of the characters to the mirror, and this information and the plot. Development has nothing to do, he just described in detail what kind of boots are in fashion now.
If this were another "Once upon a time", it could have been designed to be mournful enough, but the movie didn't, instead choosing to keep creating a sense of alienation. Orson Welles could have made George another Citizen Kane, but neither did he; in these alternating times, when Eugene broke into their cradle, everyone must have been deep inside, but He also refused to continue exploring. There is no suspense in George Amberson. His core action is to prevent his mother from remarrying Eugene Morgan. With a determination and consciousness full of self-destructive tendencies, he defends a kind of life by rejecting the freedom of Eugene and his mother's choice. Extremely abstract family dignity; but in the film, the past is the past, and the end is the end. He has only a superficial layer, just like the entire Midland space, the banquet hall, the courtyard, the street, are those changing issues, transportation, industry, real estate, marriage, the city itself is rapidly expanding, tarnishing itself, and human beings here It doesn't stand out even more against the backdrop of everything. It's architecture, Amberson's family estate at the beginning is steady, still, long shot, and at the end the strange Midland city that George Amberson re-looks at is fluid, changing, montage, That's what it means for a carriage to become a car. This is a superficial world, humans are not in any depth, they also live on the surface. George Amberson will not be subdued by the family, not by the church, and his irrational self-esteem is dissolved by all the changes around him. By the way, this one is obviously much better than "Citizen Kane". It is not so convenient for the public. It is a private creation that recalls family memories. Guys, this is a lot better than Citizen Kane, which we "recognized as the best movie of all time".
George and Lucy made me even think of Wall-E and Eva, the tragedy of a woman representing the future falling in love with a man who clings to the past, just because the latter insisted unnecessarily, and what the film wants to recall is this sense of futility , sympathizing with his arrogance. The past is gone, and we realize that all this should be displayed, like the often heard Korean rap lyrics "I use hiphop to defend my country", I didn't understand it before, but now, at least I realize" The symbolism of "I use images to defend my country", classmates will wave a magic wand, learning to realize that the surroundings we are most familiar with will one day become completely unfamiliar. There are countless characters in this story, but there is only one starting point, which is George Amberson. The meaning of this story is to preserve the traces of George Amberson Minafer. Eugene Morgan said in a confident speech that there is no such thing as an old time. The past time is not old, not old, but dead, only the future is alive. No matter how stupefying Joseph Cotton's awe-inspiring face is, he appears at the very beginning and at the very end, it's still the story of George Amberson Minave. No, it was Orson Welles at the very beginning and the end, who was slowly saying "The Amberson family's glory began in 1873, and it continued until the Midland became a modern city. So far" and "Ladies and gentlemen, the great Amberson adaptation of Bush Tarkington's novel", the truncations are extraordinarily abstract, and along with these things, those messy cuts we used to call "montages", now It's called "short video", right? People in the past died, people now forget, the water disappears in the water. This is too grand and too detailed at the same time, nothing is said, everything is, and my writing is too bad.
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