Watched two discs over the weekend: "Sin City" and "Animatrix". One is a live-action movie based on the best-selling comic book, and the other is a cartoon based on the sci-fi blockbuster "Matrix".
"Sin City" is mainly composed of three stories, and there are common characters between the stories. Whether it is the setting of the plot, or the promotion of violence in the whole film, it is reminiscent of "Pulp Fiction". Although Quentin also participated, the storyline of the whole film is not as clever as "Pulp Fiction", and although the violent scenes are also very eye-catching, it does not reach the kind of impact that "Pulp Fiction" has. The gimmick of the whole film is the use of color. In an attempt to create the high contrast effect found in the comics, most of the film is in black and white, with only a few things in their native colors to make them stand out. Goldie's red dress and golden carcass, Hartigan's blood dripping, Dwright's red shoes and Becky's blue eyes. These things are easy to forget. But the gloomy atmosphere reflected in the colors of the whole film always makes the audience feel dark. It seems that until Jessica Alba's appearance, the film flashes a little bit of color. This beautiful and strong girl is also one of the few bright spots in the movie.
As for what the so-called violent aesthetics is, I don't have a deep understanding. From Hartigan's killing of violence and Anliang for justice, to Marv's revenge for a woman who had fallen in love overnight, the wolf dog killed a cannibal murderer, and Dwright carried the police's heads to kill the sisters defending the old city... All fighting and killing The scenes are directly portrayed in a heart-pounding manner. There are also scenes that use the black and white effect of the comic to lighten the bloody scenes, but still can't lighten people's perception of what happened. It seems that Quentin's reverence for violence comes from his love of Hong Kong movies, so he has bloody works like "Pulp Fiction" and "Kill Bill". I have seen movies such as "A Clockwork Orange" and "A History of Violence" before, and I still remember the scene in which Beethoven's symphony was accompanied by a killing spree. But speaking of being able to experience the pleasure brought by violence, it may be more from the game. Most of the visual experience here is not from the thrill of killing. If you really imagine that these things are close at hand, you will still shudder.
"Animatrix" is divided into nine parts, each part is a story. Among them, there are only two or three stories related to the characters in "Matrix", including Kid's Story and Detective Story. The first story is about another spaceship in Zion, fully 3D animation, the effect is particularly good. When it comes to Sentinel's attack, it's almost exactly the same as in the "Matrix" movie, and I even think that's how the special effects in the original movie were done. The following "Second Revival" tells the history of world changes in the style of Japanese manga, how robots were driven to a dead end by humans and began to attack humans, how humans blocked the sky and cut off the energy of machines, and how did robots do? In this way, they began to use the energy of living things to occupy the world. The style of the whole picture is very clean and the colors are relatively elegant. What amazes me the most is the story of "Beyond", about a little girl who enters an old house with a strange phenomenon in order to find her lost cat. Gravity has no effect there, and the little girl and several children play there. Later, the Agent discovered the program abnormality in this area, and sent someone to correct it, so all the strange phenomena disappeared. This story is also expressed by Japanese manga, and the setting of the story is also in Tokyo. The pictures are colorful, the characters are fresh and pleasant, and the plot also has the unusual contrast in ordinary life, which is quite a Murakami novel. a feeling of.
The entire nine stories are based on the theme that the world people live in is an illusory Matrix, either to describe the relationship between humans and machines, or to record the seemingly incredible phenomena that appear in the lives of ordinary people. What makes me happy is that the film does not blindly re-narrate the story of Matrix, but from different perspectives, uses the fate of various characters or fragments of life to enrich the three films created in this movie. The world of Matrix makes the whole world more plump and credible. At the same time, I am also somewhat amazed at the mainstream status that Japanese comics culture can occupy in Europe and the United States, while China has an empty reputation as an ancient civilization, but it can only rely on Director Zhang's Chinese-style violence to attract the world's attention.
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