bewildering mashup

Zoe 2022-03-17 08:01:01

It's a bit worse than the director's other "Wild Rose of Paris". I think the problem lies in the storyline, the excessive pursuit of freehand brushwork, and the failure to explain the complex relationship between a drug dealer, a pirate, an artist, an opera star, and a postman. A little more complete is the singer and the postman, but many passages deviate from the main line in the middle narrative. The auxiliary line character setting seems to be just to complete the ups and downs of the plot and to tell the story round.
I talked about the movie when I was talking about montage passages in class. In the MV-style paragraph in which the postman accompanies the female singer to walk in Paris, the montage technique is used to show the step-by-step development of the relationship between the two people over a period of time... However, what kind of relationship the two eventually became is confusing. close friends? lover? or what?
The characters are also very interesting. There are three female characters, a black opera star, an Asian girl, and a white female detective who is almost negligible... I don't know what it means to set these characters in this way. The director's attitude towards women is not shown at all~~
The whole film style is like a platter. The first paragraph has the style of a French police and gangster film, and then it turns to an exaggerated expressionist style. There will also be a romantic literary and artistic paragraph in the middle.
After checking the director's information, he found that he was also the assistant director of "Gourmet", and was later promoted from assistant director to director. The little old French man in "Gourmet" is my favorite, Louis de Finays~~

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Extended Reading
  • Rhett 2022-03-17 08:01:01

    The aria of this opera is so beautiful, it is very touching, I can't like it. The detective's death at the end was hilarious.

  • Ryder 2022-03-17 08:01:01

    Audio-visually comparable to Blade Runner films, especially the use of colors (red and blue background light against yellow and white background) and filters (mainly a few exterior scenes such as lighthouses) did everything possible to create a strong artificial texture with Vietnamese girls Clothes, G's minimalist art style studio, the man's old garage remodeled residence, abandoned factories, etc. to build a psychedelic underground Paris. At the same time, in contrast to this, a tourist-style Paris on the ground is established as the location of the heroine's opera - what the hero yearns for elegant world. Space is highly sensually constructed by objects imprinted with characters. The car chase scene in the subway is very powerful. The processing of story sounds that are shuttled across layers to non-story sounds is quite interesting, but the resulting sticky tonality, some exaggerated reflection shots, and exaggerated unnecessary plots (such as fried taxi drivers) are too much for texture. In all respects, it is the ancestor of cine du look, especially Besson and Carax, but it is not quite the same as Genet's fast-paced eccentricity; mysterious G has also become a typical character of this type of film

Diva quotes

  • Cynthia Hawkins: Do you steal the dresses of all singers?

    Jules: No, no.

    Cynthia Hawkins: So, I'M the lucky one! I have a fan?

    Jules: I heard you in Bordeaux. And last year I went to Munich specially for the concert.

    Cynthia Hawkins: You made the trip for me?

    Jules: Yes, on the moped.

    Cynthia Hawkins: On the moped. So, you ARE a real fan.

  • [In Cynthia's hotel suite]

    Cynthia Hawkins: What's your name, Mr. Postman?

    Jules: [Smiles] Jules.

    Cynthia Hawkins: Jules! Jules is old for a young man. I thought the French were modern.

    Jules: My father was old-fashioned.

    Cynthia Hawkins: [Laughs] I'm kidding! Jules fits you so poorly that it fits you very well. Jules...