"Extreme Control" is a MATRIX that has abandoned the safe-to-see elements such as special effects and kung fu - of course, this is extremely biased - but it is exciting to see such a possibility.
"Extreme Control" can also be a ruler and a test strip. What it tries is: Do you really like Jarmusch? In other words, why do you like him? What do you like about him and what do you dislike about him? Do you like Jarmusch as a kind of fun or sentimental, or the inner keenness and crazy thoughts of this person who is hidden and strayed between these behinds?
This series of questions may only make people more confused. Let's go back to the movie first.
As far as I've seen, this is Jarmusch's biggest film. Big, of course, does not mean the production of large. Rather, the director's ambitions are great and his demands are great. It cannot be said that Jarmusch has no great deeds (such as "The Stranger"), this is not the first time he has touched the proposition of the world or the origin of life. When the point is reached, it softens to an artistic conception that can be appreciated by people aesthetically, and then the proposition disappears, and the questioning stops abruptly. The author maintains the subtlety or self-concealment, and the viewer also obtains pleasure and, more importantly, safety. Watching the movie will not consume too much physical and mental energy, nor will the author be forced to ask the dead corner to escape.
In fact, Jarmusch is not obscure at all, this is because he is always humorous. This humor is quite subtle, but throughout, in every detail, it becomes a texture or foundation, and there is absolutely no way to cut it into The bridges and arrangements here and there. This kind of humor allows the viewer to get a chance to understand or pretend to understand and laugh easily, without having to delve into the meaning of humor. At the same time, Jarmusch also means an iconic style, iconic aesthetics, and iconic taste. It is just rock or jazz music playing, concise and well-controlled depth-of-field pictures appear, and the characters are different in this way. The POSE, as well as those details that seem to be repeated but are actually subtly different, are enough to place people in a specific realm and directly reach the pleasure - thus completing the previously mentioned "easy jump", and "obscure" Keep a safe distance.
But Jiamusu is really serious, and it is not too much to say that it is obscure. This is also because of his humor, the innate humor that is close to his bones, which has become his most basic way of expression, his unique language. His seriousness and obscurity are everywhere, like a ghost lurking in the details of all the seemingly boring, trivial and even funny works, making you think, but you can't focus and get clues, you have to flow in the image At the same time, it floats along with it until the end of the film, accumulating some inexplicable and indescribable situations, which are indescribable and lingering. Perhaps the Zen machine of the East inspired him, but the final presentation is the wisdom and transparency of the West.
We may roughly divide Jarmusch's works into two categories. One is sketch style, fragment style, highly interesting and sentimental, concise, relatively single or even closed. The whole is compact, delicate and clear. Can't put it down. This category can hold most of his works, such as "Outlaw Walking" and "Coffee and Cigarettes". And the second category, perhaps only "Leaving the Soul", plus "Broken Flower" at most. Now there is a third category, "Extreme Control", as the result of the development and transformation of the second category.
The difference between "Leaving the Soul" and "Extreme Control" is that although it also touches the ultimate and the original, although the author also has something to say in it, although it is also complicated and even obscure, it is not big enough. Or it is not focused and systematic enough, and even worse, it is too beautiful and too poetic. Extremely beautiful is light, and agile is erratic. Its beauty is like the Lingbo micro-steps given to the viewer by the director. All the way, dizzy and drunk, he ran away from the questioning scene.
The photography of "Extreme Control" is Du Kefeng. In creating the documentary, Jarmusch joked that working with Du made every shot a hassle. So we see that the image of this film has developed a special "fullness" from Jiamusu's consistent simplicity. This fullness may be the compromise between the director and the photographer. The relative stillness and stability of the scene and space is Du Kefeng's compromise to Jiamusu. The ambiguous, indistinct, soft and flowing images of light and shade are Jiamusu's compromise to Du Kefeng.
The originality of "Extreme Control" not only points to the life and world in which we live, but also points to the film and even the whole art. When the ladies wearing PRADA in the play leaked the secret of "DREAM OR FILM" through the complex of old movies, it is not difficult for us to get a glimpse of a certain basic attitude of Jarmusch himself.
Of course, I believe that more people still appreciate the seriousness of Jarmusu's safety, which is easy to grieve and not hurt. You can choose to stay out of it, or you can choose to ponder and forget it, just like the end of "Coffee and Cigarette" The old man who couldn't wake up to the singing of "To this noisy world, I'm dead", most people have not waited to see here, and have already fallen asleep in the long and trivial dialogue of the film.
gorgeous. I am sorry for this.
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