shouting in the drizzle

Brett 2022-04-21 09:02:40

According to legend, looking at a mountain is not the three realms of a mountain. In my history of watching movies, this is how I understand it. The first stage to watch the mountain is the mountain: the stage of pseudo-movie fans, watching all kinds of films, and keen on the legendary classic film Wong Kar-wai. The second stage of watching a mountain is not a mountain: I pretend to be a movie fan a little bit, I think I have seen many movies, and the movies that I claim to like are all of a special personality type. These include: Fight Club, Two Smoking Guns, Beautiful Sunshine of Pure Mind, Memento, Butterfly Effect, Russian Ark, and more.

"The Elephant", because of its rhythm and structure that is different from normal movies, and the incredible long shots, expresses a rather profound theme quite profoundly. When I saw it, I was quite impressed by it. At the time I just thought it was genius, it was so creative. But it feels strangely familiar. Could it be that I have watched too many genius films, and any kind of creation and strangeness can be classified as strange. Until one day, on a slow journey on a certain ship, I read the complete works of Yu Hua again. So above the Yangtze River, and in the dizziness after reading "Shouting in the Drizzle", I had an epiphany: Isn't this "The Elephant"!
Content That really has absolutely nothing to do with it, but the well-regarded first half of Drizzle and The Elephant. The two have flat and slow narrative language and non-linear narrative structure, repeating a certain event from different perspectives and paragraphs repeatedly, constantly adding details and finally completing the event, almost sharing a soul. In comparison, Drizzle seems to be a bit more complicated, because it is a cross between different time periods, and the timeline is still developing. And "Elephant" is just a different perspective of the same time period.
When I recall it again, in the years when I was crazy about reading novels. Yu Hua or some earlier writers within the group system seem to often use this structure to write novels. It's so old, I can't remember the exact name. Or is this still a faction of fiction writing? I don't know which strong man can say one, two, three?


Having said that, my second phase was over when I discovered how both creative and strange can be grouped under the same category as strange. In the third stage, depending on the mountain or the mountain, according to the original pure idea, I can upgrade to those master works that I can't understand, Hitchcock Polanski, Woody Allen and the like. It's the kind of story that seems to be so simple, but every eye and every use of light has an article. At that time, we will also be able to appreciate the profound language in that look and shot. As it turns out, I now only want to watch light-hearted comedies or action movies that don't take my mind off.

PS: The two creators are all of you. I just want to talk about the connection that I think is interesting. I just want to ask a question.

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Extended Reading
  • Willow 2022-04-23 07:02:46

    9.5, while maintaining the real time as much as possible, the use of multi-line interspersed provides dimensional possibilities for time, which greatly increases the visibility. Impressive camera movement and scheduling for the longest shot, plus bonuses for the promenade

  • Bernard 2022-04-23 07:02:46

    In 4.5, Gus Van Sant explained the appearance of the characters in a form similar to a silent film. The background blur and follow-up shots create POV-like simple but extremely disturbing violent impulses without using POV shots. And it forces the audience to pay attention to the narrative subject subjectively and to reduce the "vision" to the greatest extent and resort to "feeling" to perceive movement and surrounding existence, so that the narrative subject can "freely" replace and return.

Elephant quotes

  • Acadia: Hello.

    John McFarland: [startled] Hi.

    Acadia: What's wrong?

    John McFarland: Nothing.

    Acadia: You were crying.

    John McFarland: [shrugs] Yeah.

    Acadia: Is it something bad?

    John McFarland: ...I don't know.

    [Acadia kisses John on the cheek]

  • Alex: [after Eric gets into the shower with him] Well this is it. We're gonna die today. I've never even kissed anyone before, have you?

    [Alex and Eric start kissing each other]