(17 years old text)
Sherlock Holmes II 9.5
①
Poor Keaton is again misunderstood by his beloved, this time as a projectionist aspiring to be a detective. He sat depressed in the screening room, watching the screen fall into a dream, which was playing a movie that mirrored his frame-up experience.
He walked out of the screening room, sat in the auditorium, and then suddenly, he walked into the screen.
Changing time and space, breaking away from boring reality, and leaping to the screen to realize countless dreams, that is, the original intention of film art.
②
He found himself running into the movie suddenly, and standing in front of the gate was a little overwhelmed. He wanted to walk down the steps, but suddenly he came to a wall, tripped over a stone bench and stumbled. He looked around and wanted to sit on a stone bench. He rested on the bench, but sat empty, rolled onto the street with the continuous traffic, stood up and took a step, and reached the edge of the cliff. He quickly retreated, but he was already standing between the two lions...
Movies are the art of playing with time and space, and in 1924, Buster Keaton was playing like a child, and movies were his toys. Imagine how dumbfounded people would have been to see this a hundred years ago!
③
The main body of the story is the reflection of the dream on the reality. In reality, he was framed and wronged. He ran to track the enemy as in the textbook and was teased again (how can there be a centimeter of personal tracking? Hey), he arrived in the dream. On the screen, he suddenly transformed into the world-famous detective Sherlock Holmes II. He was graceful in a windbreaker and on crutches.
The billiards section pretends to put the audience into an omniscient perspective, making the audience feel attached to the No. 13 billiard bomb, and worry about our Mr. Detective, but I don't know that he has a brilliant eye and sees through everything long ago.
When tracking, even if the enemy is trapped on the rooftop, he can jump on the ground with both wisdom and courage, and hold the access control rod from the high-rise building directly to the enemy's trunk. Even if such a shot is shot today, it would take great risks, not to mention the actual shooting in 1924!
Sitting on the head of the motorcycle, he made a serious rant, but he didn't know that the driver behind him had already fallen off the car, stepped on the accelerator to the bottom, and the driverless shuttled through the traffic flow. The interaction between the moving motorcycle and the surrounding environment was deduced. To the extreme, crossing the tug-of-war field, dragging a string of tug-of-war athletes directly, crossing the broken bridge, just passing the truck underneath, encountering the crossbar, someone just exploded, and passing by the speeding locomotive was really exciting. In the end, the motorcycle got out of control, and he entered directly through the wall, kicked the gangsters who wanted to do things wrong, and appeared in front of the heroine like a magic weapon.
In this famous film and television chase, Keaton shows the highest level of expressiveness that can be achieved through scene scheduling and editing in the early days of the film.
④
He woke up from the dream and saw the girl who had solved the misunderstanding standing shyly in front of him. In the theater, the band that made the soundtrack for the movie was still happily performing, but the two timid young people in the screening room were relatively silent.
Suddenly, he glanced at the screen, and he had an idea to learn the moves of the man above——
He gently held the girl's hand, and he also gently held the girl's hand;
He took the girl into his arms, he hesitated, and also embraced the girl:
He kissed the girl! He looked at the screen, scratched his head, and kissed her heartily.
Everything in the picture, the plot jumps, the men and women on the screen have children, and they sit together and laugh.
The movie is over. He was still expressionless, but his tenderness and cunning clearly penetrated the screen through a hundred years, and all the genius creativity and amazing aura were vividly and vividly in that moment. It was a standing ovation enough for the audience, and the applause lasted for a long time. They all call him "sneering craftsman", but he is more than a "craftsman".
⑤
At the beginning of the movie, Keaton pretended to be Sherlock Holmes and immersed himself in reading "The Detective's Guide". 75 years later, a young man named Yin Tianqiu held a book called "The Self-Cultivation of Actors" in the same posture. fascinated. Is it a tribute? Is it a tribute?
Woody Allen's "Purple Rose of Cairo" directly follows the framework of "Sherlock Holmes II" and can only look botched in front of Keaton.
⑥
I repeatedly marveled at Keaton's epoch-making genius when I wrote The General. Some greatness is forged by the times, and some are beyond the times. That kind of immortality, the long river can't be washed but only moisturizing, all wind and frost swords must be sincerely bowed down and willing to contrast.
After the talkie came out, he struck a ill-advised deal with MGM, a choice that completely stripped him of his artistic freedom. A forced smile on the narrow TV screen.
In 1952, he starred with Chaplin in "The Spring and Autumn of the Stage", which is Chaplin's late autobiographical work, although the main purpose is to be extremely narcissistic but also to brag about himself honestly, but Chaplin is generous. Gives Keaton a lot of room to play. Heroes cherish heroes.
I often deplore Yu Jinmin's untimely death, thinking that it is the most disappointing among all the infinite possibilities that cannot be fulfilled. In fact, Keaton is also a regrettable "what if" in a sense. In the golden decade of the 1920s and 1930s, he created a large number of palace-level works like an explosion. In the cage of vulgarity? Humans have no way of knowing.
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