All of Woody Allen's "author style" that I know is infinitely magnified and sublimated in this autobiographical black and white film, and finally becomes a master of its own. As a student, the ridicule of Old Allen about life, especially intellectuals, can only be half-understood. He is like a knowledgeable little old man who loves to play dumb riddles. He likes to come here with us. The juniors play intellectual hide-and-seek. But at least one thing I should be able to have in common with him: fascination. The little old man is an absolute movie fan, no matter in the early or middle and late films, there are always intellectuals talking about the film or watching the film directly; at the same time, as an "author director", his style is obvious, but he likes to learn from other masters. Especially the classic of European film masters - "Once Upon a Time", which pays tribute to Fellini's "Eight and a Half" is an example. I haven't seen "Eight and a Half", and I haven't watched much of the little old man's movies, but at least from my shallow movie viewing experience, this should be the best movie of the little old man, no one. The little old man prefers literary comedy, and it is a romantic comedy. It is not a black humor, but at least the laughter is high enough to deter a considerable number of audiences who come here, and this movie can be reduced by 60% on the original basis. audience. Obscure, esoteric, minimized commercialization, anti-type, play structure is difficult to understand, but this is what makes "the only intellectual in the American film industry": dark humor to the extreme, too many wonderful ironies hidden In the image, the theme of the film, in structure and plot, in form and content, forms a high degree of artistic unity, and this high degree of artistic unity forms a common subject with the whole film, after laughter, after noise. , just a lonely back, cast a helpless glance to the screen, as a comedy, it is endless sadness and nothingness when it comes down to reality. Irony, irony, irony with high IQ, irony presented through the ability of image representation, Old Allen is a master in this aspect, but in this film, he has played a different flavor from previous films: the switching and conflict between reality and fantasy , the opposition between memory and the status quo, the opposition between artistic pursuit and commercial needs, the collision between one's own spiritual predicament and one's own reflection, presented one by one, when the past unilateral ridicule was gone, it finally sublimated into a tragedy of helplessness and resistance but still helplessness; The emptiness of life, the alienation and loneliness of oneself, may be covered up by love and hope. When we all thought that such a bad ending would ruin the whole movie, the switching of the camera tells us: this is just a play within a play—— What a subtle irony! In the final analysis, life is nothing but a play, full of hustle and bustle, and a lot of emotion. In the end, I just face the screen alone and walk the path of nothingness and loneliness. At this time, we outside the screen, and the movie with cast members, The last and most far-reaching irony is formed: we understand the nothingness of others, the nothingness of ourselves, but we still live a life of nothingness; Some anti-intellectual characteristics, but still have to face it. Understanding analysis does not mean changing; it is precisely the deepest analysis that discovers its metaphysical irreversible and unknowable nature. This is the deepest and greatest sorrow of intellectuals... Old Allen no longer mocks, he We are left with a silent back, and the irony to the end is precisely the absurdity and powerlessness of Sisyphus, which can only be just a back watch. Facing the oppression of objective existence and the powerlessness of subjective consciousness, what can a director do? In the face of the ever-present alienation of externalization, in the face of the incisive sense of emptiness that is accompanied by the ever-spreading quest for knowledge in the depths of truth, what can artists do? In the face of the spiritual crisis brought about by the constantly superior living conditions, the lack of belief, and the growing loneliness and nihilism that go hand in hand, what can human beings do? Fortunately, when the boundless night comes, there are still the happy, sad, happy, and resentful stardust past, left to pursue. Old Allen no longer ridiculed, he only left us a silent back, and in the end, it is precisely Sisyphus-style absurdity and powerlessness, which can only be just a back watch. Facing the oppression of objective existence and the powerlessness of subjective consciousness, what can a director do? In the face of the ever-present alienation of externalization, in the face of the incisive sense of emptiness that is accompanied by the ever-spreading quest for knowledge in the depths of truth, what can artists do? In the face of the spiritual crisis brought about by the constantly superior living conditions, the lack of belief, and the growing loneliness and nihilism that go hand in hand, what can human beings do? Fortunately, when the boundless night comes, there are still the happy, sad, happy, and resentful stardust past, left to pursue. Old Allen no longer ridiculed, he only left us a silent back, and in the end, it was Sisyphus-style absurd and powerless, and could only be a back watch. Facing the oppression of objective existence and the powerlessness of subjective consciousness, what can a director do? In the face of the ever-present alienation of externalization, and the incisive sense of nihilism that accompanies the ever-spreading quest for knowledge in the depths of truth, what can artists do? Faced with the spiritual crisis brought about by the constantly superior living conditions, the lack of belief, and the growing loneliness and nihilism that go hand in hand, what can human beings do? Fortunately, when the boundless night comes, there are still the happy, sad, happy, and resentful stardust past, left to pursue.
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