At the beginning, I used narration to introduce actors, photographers, screenwriters, and pictures. Oh oh oh, Dafo Plath also introduced the staff at the beginning.
The interaction between the film and the audience that I am talking about, the narration at the beginning of this film introduces that the actors and the camera are facing the audience as a kind of
do you like... i like all of you, your ankles knees thighs ass
I don't know, I like both
A scene with three colors of red, yellow and blue
An interaction between movie shooting, movie screening, movie viewing and audience
nice color
film that fell to the ground
Hahaha threw the film as a discus
Girls and old men talk about poetry and literary expressions
Scene of man driving another man's wife into the car, movie poster on the wall
After he hit the spot, the wife and the man held hands, the man left, and the camera moved forward obliquely, and the wife lowered her head. This scene is beautiful and shocking.
Wife's hairband and back look a little girly with pearl earrings
This soundtrack is too sentimental. When the soundtrack is played, many of them are sentimental.
His wife left, the machine moved forward, and his wife turned around. However, before turning back to the close-up view, the camera cut off. How many flashbacks? I understand the director's meaning, but I can't get used to this kind of operation with my current viewing habits, or I can change it to push up, cut a few memories, then switch back and push up, cut memories again, or stack pictures, or directly Just push it up, don't remember
What do you mean, his wife had an affair with the eye man?
The wife is sitting there looking at the painting, and the tree branches cover the wife's head. We notice the content of the painting. Now we can start by blocking the wife's head, and the audience will notice the painting first.
The husband and wife are walking, the wife: If you are happy, I am happy too
Hahaha close the door and come out from the door frame
The couple's room is the room of the last male and female lead after exhaustion? table wall
The upper and lower panoramas, if the change is not obvious, do not cut in the places where the actors move opposite each other. For example, in this film, the girl leaves the bathroom, and the male protagonist follows. On the opposite side, a female protagonist enters the bedroom, and the male protagonist follows. I think Godard I don't know the Hollywood set of camera movements and editing at all. You can see that the tracks and camera movements are leaning towards Hollywood, but I still make some mistakes from time to time. When I finish shooting and editing, I find that the cuts are not in one piece. Maybe he wants to omit the middle. process, but now people can't get used to this method
The use of the wall is clever: the wife and husband are on the right of the painting, the wife walks from the front of the wall to the left of the painting, the camera pans, and the husband enters the painting from the right behind the wall
The wife enters the bedroom, the husband sits on the bed, the wife comes out, which is equivalent to entering the painting, the wig has been changed, and then walks behind the left wall of the painting, the red bath towel is thrown out, the man enters the room to answer the phone, the woman takes a shower and comes out into the painting, and the woman enters. The house, the man goes out of the house and stands outside the door, also a long shot, a sense of isolation
The lighting room of European art films is the ambient light, the main light, the characters have no light and shade levels, the walls are one brightness, there is no level
The heroine is lying naked on the white carpet, looking up at the audience
Godard's direct look, jump cut, chatter, gender, sex, philosophical discussion, historical classics
Red, white and blue appear
The two of them gave their own thoughts and opinions in a monologue, and the ending words used the opening words again, "This terrible thing has already happened." Ah, this feels so right, this is what I want to shoot
I like that when Godard was shooting this scene, a scene suddenly popped out. The story is not related to the plot, but it can be used as a loose and tight emotionally. As long as this picture arouses the emotions of the audience, it can be added
In confrontation or estrangement, Godard places two figures at the two edges of the picture
The husband pulls the wife to talk "I have something to tell you", the lamp flashes and the track moves back and forth. At this time, the track is too powerful, the emotions are transmitted, and the two sides are connected. The long process in the middle is not redundant and tedious at all, but increases Some fun, the table lamp kept flashing in the middle of the process, this is what I want to shoot, but these things are very fragmented, and it is completely achieved by a certain relationship between things and the plot. It is indescribable that this is also the case in Godard's previous works. The movement of the lens, but it does not come out feeling, this lens can be used as the best lens in this film
Close-up shot of sitting in the car by the window, the view does not change, the light changes, the environment changes
Suddenly I feel that the old-fashioned wooden seats of the cinema are very similar to the lurker's beach
Hahaha two people watching the stage play sit on one side
I really like the connection between two people in the picture or the restraint and connection of several people, the inner connection question
"You go" I'll discuss The Odyssey with Mr. Lan
"Death is not the solution to the problem"
Make the picture interesting, shoot the reaction of one character without giving the other person's expression, and know the reaction and action of the latter through the previous reaction and action
After the female protagonist waved his hand, the male protagonist entered the painting, but the male protagonist was about to walk to the edge of the painting and the camera started to shake. In response, the male protagonist was almost out of the painting. The wheel is not easy to shake.
Obviously, they are different from the way couples deal with in real life. They make the words clear and then make the next behavioral choice based on reason and reality. The behavioral choices of characters in Godard's films are different from the logic of reality. If you don't rely on this logic, you want your wife to go, you can't stand his wife cheating, and the male protagonist is afraid of losing the opportunity to write the script? But Godard's performance is still not obvious enough. It's not that the reasons for the male protagonist's tendencies are not obvious enough, but that many of the characters' behaviors in the movie are not chosen with a logical line. of people's behavior rules are contradictory and unconvincing, which is one of the reasons why I don't like Godard so much
Interesting method of the picture: If the male protagonist in this film walks down the stairs to the secretary, we all think that the next evolution is the male protagonist, but no, there is a character at the corner, and the male protagonist enters the painting after a while. The most used method is deception
"Why is there always a money relationship in what we do and become, even when we are in a relationship with someone we love"
Director's autobiography?
The hero won't commit suicide
I always thought that it would end with the scene with a few people in the house where the male protagonist said he didn't want to write the script.
"I just looked at you like the first time I saw you" and the previous "This bad thing has happened" are all I want to feel like roughly "the end is the beginning, the beginning is the end" and "this is the end"
One of the sources of the movie's charm is the emotional response generated by sitting and talking about and not talking about their own ideas
So why did the heroine follow the man with glasses? The security and fresh excitement that money brings? She didn't know that the secretary had something to do with him? I really don't understand this kind of thing in movies and novels, because in reality there is always a reason, but not in movies and novels, they all seem to pursue love and innocence
? car accident? Farewell, but death is not the solution to the problem, especially the permanent lack of answers and opportunities brought about by the death of the active party, hate
The biggest doubt after watching this film is how the two of them don't love each other
A movie within a movie, the movie starts to make a movie, and the movie ends after the movie is finished. There is a rendering end in Abbas's "24 Frames" that is similar to this
The last shot is also the interaction between the film and the audience, Godard's ending is always carefully designed
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