Refreshingly rich irony, Reivew on The Front Page

Billy Wilder's rendition is not as definitive as the irony, and the irony doesn't always end there. The loss of justice in the journalism profession, the strong manipulation of the media age, the unscrupulous use of politicians in their struggle for power, and the desperate people at the bottom are forced to do nothing. Only when a society's irritability and moaning are seemingly carelessly inserted by Billy Wilder, and they are linked together. When it comes to laughter, the irony loses its pungent heaviness, and instead gives a dose of stimulant. Laughing and blaming the embarrassment of being riddled with holes can better take into account the short-term communication power of the movie's limitations than the suppression of bitterness and hatred. The transition of the lines is very exciting, and the dialogue with the punch line gives people an instinctive agitation when watching the movie. The composition of the crowd in several indoor scenes reminded me of "Twelve Angry Men". Although it is not as rigorous as the latter, the movement of the actors reflects the flexibility and compactness of the scene. At the end, I thought it was a nostalgic look back on the old American films that were produced in 1974 but also had a heavy responsibility for the aftertaste of "Golden Age Hollywood" (after all, the film background was in the 1920s, and the actors' slightly exaggerated performances were very stylized), but The last few minutes of the peak and circuit transfer the process of recollection, and the recollection stops at the recollection. Next, I want to see "Friday Girl" and compare it with the generosity of the film source.

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