Well, I didn't cry when I read it, I cried when I wrote it. [The Great Restoration] "The world is too noisy and distracting to survive in the end. Everyone should fucking shut up. The answer is in silence. The monks used to set themselves on fire to tell us this, you Think about it." Gary Shandling died in March of this year, and Louis C.K put this quote from Shandling at the end of the ninth episode of [The Centennial Tavern] as a tribute to his old friend pay tribute. This passage has a chemical reaction with [Hundred Years Tavern], which can almost be regarded as an elite summary of this bittersweet drama. [The Centennial Tavern] is basically a play that can't be compared, it can't even be replicated. Going back and forth between the words drama, stage play, TV series, sitcom, tragedy, comedy, this series has a certain threshold for most audiences. Its style compels us to engage all our senses and minds to experience this retro-style show with an abhorrence of contemporary TV shows. Each episode is split, with a "intermission" in the middle, there is only one exterior scene in the whole play, almost no scene changes, no live audience, no laughing soundtrack, minimize the role of montage in editing and narration, music only Cue at the beginning, end, and halftime—Louis C.K rejects all the sensory stimuli that contemporary audiovisual language can offer, focusing the audience's attention entirely on the actors' performances and lines. Although it has the foundation of traditional dramas, and it may even be the TV sitcom most similar to "stage drama" in the new century, it is still undeniable that [Hundred Years Tavern] is still a sitcom in essence. The camera is always replacing the perspective and position of the audience, and time and space do not always last for a long time. When the camera is placed on an actor who is speaking, the actor in the background is still talking, but we cannot hear them. Louis C.K. admits that he was inspired by Mike Lee's 1977 [Abigail's Party] (a family of four talking over dinner), as one of the members of the film using the camera to get close to the stage play, [ Centennial Tavern] is more akin to the American TV sitcoms of the late 1940s and early 1950s. "At that time, people's language hadn't degenerated to the point where swearing would only start with F." [Silent Halls] Almost everyone is saying that [Hundred Years Tavern] is the most desperate comedy. On any rating site, we can see fans describe its grief in words: "My life is already mourning enough, why should I watch this?" "Louis CK is the darkest in the world. Comedy director." So how sad is [Centennial Tavern]? How does this comedy write sadness with joy and make people fall into infinite sadness? As mentioned earlier, a few passages from Gary Shandling unexpectedly summed up the center of the episode: "The answer lies in the silence." No laughing soundtrack, no live audience, no ambient soundtrack (the episode The original soundtrack has only four songs), just the show rejects the raucous form. And there are very few shows or movies that, in seven hours like [The Centennial Tavern], allows a large number of wonderful lines to be fairly switched between multiple protagonists, so only to tell the audience one thing: we Only recognize what you recognize, and no one can empathize with the situation of others - face the truth, you can only sigh, can't speak and no one speaks, and then just live in endless sadness. "Speaking" and "listening" are the themes of [Hundred Years Tavern] throughout the play. This is first of all because it is close to the performance of the stage play, and it is destined that the drama will use a lot of dialogue to support the dramatic conflict. In the bar, we heard countless jokes about Hillary, about women's rights, about the Bible, usually a guest started the conversation, the camera focused on his gushing face, and then other people who disagreed or caused other topics The guest ends the conversation. The camera moves to the next thread initiator, after which we forget the previous set of conversations. Conversation diversion is more than just a "transition". A simple example, in the ninth episode, a pair of netizens who were shown by the website to have the same preferences met in a bar. The girl gushed about her graduating from the Ivy League, going to the New Yorker of her dreams, and then having nowhere to go after realizing her ideals. And her netizens, during the same conversation, kept saying, yes that's right, just like my father, who once wanted to be an astronaut since he was a child and ended up walking on the moon, but told his son: "This is It's the most frustrating thing ever." In this section, Louis C.K lets the protagonists tell their stories to their heart's content, and when they tell, everyone around them is listening. When he loses his listeners, it is often not that they have lost their desire for the story, but that "empathy" occurs in other people's stories, so the listener gradually becomes the teller. If there is no conversion, then they will Becomes cranky and tries to interrupt other people's conversations by being picky. being a man The man finally couldn't help but burst out: "Stop talking about yourself! At least you should express a little surprise that my father went to the moon." The people around him kicked him out of the bar, because it is forbidden to yell at women. Lewis succeeded in bringing the topic to the new topic of "the status of men and women." Dialogue is constantly passed between each character, but they almost never have actual dialogue. In episode seven, Lewis answers that question with another story. A drunk man tried to confess to Sylvia at the bar, saying, "I find you exciting. Your cancer makes you very sexy, and I find it erotic. It's as if your body is flirting with death." Sylvia ignores the existence of the drunk (because she is not interested), who tells the story of how he loved his brother but was ignored by him. "I'm a human being, but they can't see me. So you go on, keep ignoring me, keep ignoring me for the day, but remember, it's me who makes you feel different. It's my admiration that gives you Go to the altar so you won't see me ever again." The perfect third episode -- it's one of the few moments in the entire ten-episode show where people actually talk. Louis simply continued the conversation for 43 minutes. In the opening, nine minutes of close-ups pull us into an extremely compelling erotic past. Halls' ex-wife—a woman similar to what Huppert usually portrays, a sensual middle-class woman struggling with a new family and the desire to return. She pretended to sleep on the bench, spread her legs in the sun, and silently seduced her long-awaited father-in-law. After she got the hint, she masturbated separately from her father-in-law in the compartment between the door. The beautifully erotic moment cuts into Halls' face: "Why are you telling me this?" And this time, Louis lets the conversation go on. The ex-wife who cheated in the new family was in exactly the same situation as Halls, who had a relationship with his ex-wife's sister, and even these two cheatings involved incest with close relatives. This tentative empathy eventually allowed the two to continue their conversation, and the end of the conversation, the outburst of the scene, was magically turned by Louis C.K. to what they had in common: the child. Halls was so helpless, Uncle Butt brought him a glass of beer. Then came the signature ending: everyone fell silent. [Once Upon a Time in Brooklyn] In downtown Brooklyn, Halls, 49, and Peter, 52, run a pub. No mixed drinks here, beer only sells Budweiser. The price of wine can be changed, depending on the time of the guests, and their appearance. For years, tavern operators have been mixing whisky with half the weight of water. countless times We were told: this is a 100-year-old pub and things here stay the same. But Lewis didn't write this for some bullshit. [The Centennial Tavern] shows an astonishing amount of pain in ten episodes. Halls dies of murder, Pete is mentally ill, Sylvia has cancer, and old Pete blows himself up with a gun. These plots can also come from a third-rate Hollywood screenwriter. Because it is extremely easy to create a human tragedy, but it is very difficult to make a container for the tragedy. Not to mention that Louis made grief into a craft brew. Those original plots were separated, purified, and reprocessed, and finally turned into a glass of good wine. From the second half of the episode, the family's original shape slowly emerged, and we finally understood why Sylvia was domineering and why Halls was silent. In this century-old tavern, Louis buried a source of pain: no family member's relationship is not fragmented, and no generation's values can overlap to make up for the damage they have caused to each other because they can't communicate. The area around Old Pete is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife. Old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room . [The Centennial Tavern] shows an astonishing amount of pain in ten episodes. Halls dies of murder, Pete is mentally ill, Sylvia has cancer, and old Pete blows himself up with a gun. These plots can also come from a third-rate Hollywood screenwriter. Because it is extremely easy to create a human tragedy, but it is very difficult to make a container for the tragedy. Not to mention that Louis made grief into a craft brew. Those original plots were separated, purified, and reprocessed, and finally turned into a glass of good wine. From the second half of the episode, the family's original shape slowly emerged, and we finally understood why Sylvia was domineering and why Halls was silent. In this century-old tavern, Louis buried a source of pain: no family member's relationship is not fragmented, and no generation's values can overlap to make up for the damage they have caused to each other because they can't communicate. The area around Old Pete is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife. Old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room . [The Centennial Tavern] shows an astonishing amount of pain in ten episodes. Halls dies of murder, Pete is mentally ill, Sylvia has cancer, and old Pete blows himself up with a gun. These plots can also come from a third-rate Hollywood screenwriter. Because it is extremely easy to create a human tragedy, but it is very difficult to make a container for the tragedy. Not to mention that Louis made grief into a craft brew. Those original plots were separated, purified, and reprocessed, and finally turned into a glass of good wine. From the second half of the episode, the family's original shape slowly emerged, and we finally understood why Sylvia was domineering and why Halls was silent. In this century-old tavern, Louis buried a source of pain: no family member's relationship is not fragmented, and no generation's values can overlap to make up for the damage they have caused to each other because they can't communicate. The area around Old Pete is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife. Old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room It's easy, but it's hard to make a container for tragedy. Not to mention that Louis made grief into a craft brew. Those original plots were separated, purified, and reprocessed, and finally turned into a glass of good wine. From the second half of the episode, the family's original shape slowly emerged, and we finally understood why Sylvia was domineering and why Halls was silent. In this century-old tavern, Louis buried a source of pain: no family member's relationship is not fragmented, and no generation's values can overlap to make up for the damage they have caused to each other because they can't communicate. The area around Old Pete is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife. Old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room It's easy, but it's hard to make a container for tragedy. Not to mention that Louis made grief into a craft brew. Those original plots were separated, purified, and reprocessed, and finally turned into a glass of good wine. From the second half of the episode, the family's original shape slowly emerged, and we finally understood why Sylvia was domineering and why Halls was silent. In this century-old tavern, Louis buried a source of pain: no family member's relationship is not fragmented, and no generation's values can overlap to make up for the damage they have caused to each other because they can't communicate. The area around Old Pete is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife. Old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room The Terna area is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife, and old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room The Terna area is typical of patriarchy. Old Halls imprisoned, beat and scolded his wife, and old Peters told the guests about his nephew wetting his pants for half a century. But the question is not about repairing each generation's relationship, but about how much pain each generation's habitual values will cause the other. Sylvia has been a necessary revolutionist from a young age: she sees the pub as a substitute for the corrupt values, the degenerate values of this sad pub - passed on like a curse in each generation. When Pete disappears, Halls finally wakes up from his silence, and he starts to explode and vent. Sylvia persuaded him to leave, and the candidate who came to apply was a cheerful, jumping elf-like woman, representing the American dream that Halls never took a step forward. She ordered a song for Halls from the jukebox: Paul Simon's "American Dream" (Louis C.K's favorite song in his life, Simon didn't ask him to pay for the copyright, and he recreated the show composition). Halls, who had given up on himself for half a century, finally woke up! At 49, he wants to get back on the road. Meanwhile, Pete pushes the door open - the homeless psychopath returns home and a true Easter miracle happens! But happiness is always short-lived. Pete didn't say a word and killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room , killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room , killed his brother with a knife. As you know - Halls can't talk anymore. In the Centennial Tavern, he will be silent forever. (Text_kaikai) Originally published in "Watching Movies" magazine, January 2017, Screening Room
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