After watching "About Schmidt", it may be because I have seen the Shining played by Jack Nicholson before, or because of his weird facial expressions, which always gives people a morbid sense of serenity . This film often has a lot of empty mirrors or similar empty environment accompanied by the light piano sound, which reminds me of an American painter Edward Hope, when people look at his works, they will feel lonely and powerless. , but after reading his light-painted works, it will give me a comfortable and warm afternoon sunshine, without feeling lonely and powerless. If the space is empty or only one person is lonely, I don’t think that means anything.
Look at Nicholson's face when he faced the feedback of each turning point, the face of waiting a second to retire, the face of his wife's burial, and the face of life after losing his wife like a nightmare, and also There is a face with his wife's makeup on, and the face at the end of the film. These close-ups are like the viewer looking at his face in a mirror. We are at a loss like the male protagonist. This sense of immersion is not a coincidence. , is the director's intention to pave the way to pass, each director's shooting techniques are different, but they all have their advantages.
Let's talk about the composition again. From the beginning, the male protagonist in the office and the back indoor scene has many characters in the corner of the space, the wall with the window, until the final wedding, the two different colors of the wall, the male protagonist does not agree In this marriage, his girl and the people sitting are waiting for him to speak. The male protagonist is in the middle of the two colors. A wall of color, it's like making a decision, using the camera to use the scene to tell us that he has been making a choice on the road.
I personally like a few more points: One is the clock at the beginning. Usually, the page-turning clock is very fast, but the clock in the male protagonist's house turns pages slowly like a turtle. Also, the last shot of his wife's death is pushed to the vacuum cleaner and the sound. I think this negative moving shot is also very good. The audience knows what is going on. There is also the male protagonist drinking milk alone under the light. This kind of space squeezes the composition, obviously in a relatively large space, but it is better to shoot with a sense of airtight compression. When the male protagonist drove the RV alone and watched the meteors at night, the four toys symbolized his wife. In the next morning, these toys were taken away naturally with the RV driving, which reminded me of the last in the chocolate. The heroine sprinkled her mother's ashes, and the aunt flushed the ashes down the toilet in the sailing news, expressing how rich and varied the ways to let go or let go. Old movies are solid, just like the old and rich tea years.
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