1964 Oscar for Best Picture, Director, Adapted Screenplay and Score + Best Actor in Venice.
A typical postmodern nonsensical comedy, narrative: masked characters + exaggerated plot + sudden and forcible reversal of happy ending.
Formally: the character's various words and deeds breaking the fourth wall & narration spoilers, self-referential (such as "the passion scene is omitted as usual below") and self-deprecating & a few minutes before the title is released, the silent film-style opening + circle in and circle out transition + high-speed editing + down-motion shots (chasing and escape scenes) + stop-motion shot montages (a man and a woman overhearing a scene outside the door) and other collage-style film languages.
The most famous passage is the montage of two people flirting while eating seafood and fruit, which is very sexual.
A superb technique of compressing screen time: In a single shot, Tom Jones enters and exits the painting several times from left to right, riding on a horse each time, but his broken arm is getting closer and closer to recovery. Take different poses and actions.
From ice red navy
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