The most intuitive feeling this movie brings to me is that it is out of control, and I think this is what the director wants to show us. First of all, the characters are out of control. When I watched this movie for the first time, I always had a strange feeling that I couldn't tell the truth. I always felt that no one in the movie was "normal". This is my judgment from a third-party perspective. By standard, after watching the movie and thinking about it, almost everyone in the movie is crazy - Thaler, a man who can kill a murderer with his bare hands, he seems to be ready to use his fists to deal with it anytime, anywhere. The problem, he always brought an uncertain risk factor; Lola, a man crazy for love, at the age of 20, had the courage to disobey her family and a man who had been in prison for wounding. A road carnival, I always think that Lola is a very contradictory person, I can always see extreme pain and joy in her, the good witch and the bad witch are always tearing her nerves; The most direct performer of "Out of Control" - Marietta, it can even be said that the entire development process of the film is the process of Seiler and Lola's escape, the process of Santos and others chasing and killing, and the process of Marietta becoming mad. . In addition, there is also the out of control of the relationship between the characters. From the time Lola's mother Marietta seduced Seiler, everything seemed to be full of unexpected: Li Meng was originally asked by Marietta to kill Seiler, But she was killed by Seiler with her bare hands; her original intention was to completely separate Laura from Seiler, but she strengthened Laura's determination to be with Seiler; Santos was originally entrusted by Marietta to "kill" Seiler , but in the process of his pursuit of Seiler, he gradually lost control, and the story finally developed to Santos killing Johnny... The rhythm of the music, the color of the picture, the composition of the picture, and some recurring pictures in the film all strengthen the whole This work gives the audience a sense of loss of control. This work uses an interlude technique, interspersed with memories of the past of Seiler and Lola during their escape journey. This kind of interlude is different from the regular interlude. It always develops at a certain point in the character plot. It suddenly appears in the staged progress, and the memories are always fragmented and short-lived, which gives the audience a sense of fragmentation. I think this fragmentation can be said to be the fragmentation of the film's rhythm, and it can also be said to imply the characters. The fragmented narrative seems to be chaotic and "unshaven", but in fact it just fits with its surrealistic dramatic features, intersecting reality and dream, through the "good witch" and "bad witch" in Lola's heart Come to divide the characters into camps, and show the dramatic conflict with the pictures imagined in the characters' hearts. The director also showed a strong personality in the handling of color in this film. Released from Prison in Saylor For the second time making out after ME", the director chose to cover the entire scene with a slightly softer yellow than red. This sudden color shift and the span is so large that the picture is no longer harmonious as described in the mainstream film color shift, but it is full of Lynch's own language, crazy, perverse, and deeply rooted in the hearts of the people. Marietta is a very important character in the film. It can be said that she led the clues of the whole film: it was her greed and endless pursuit of desire that led her to participate in the murder of Uncle Pucci and Lola's father successively. , intending to murder Seiler, and Johnny's death is also inseparable from her. The plot of the film is driven by her layer-by-layer desires. In this film, Marietta pursues the most naked of self-desire and power. Symbolically, the director also used the help of color when expressing her perverted desire for control. First of all, the color of Marietta's nails is pink, which is not very suitable for her age, and the director has given her many close-up shots of her nails, which has already hinted at the crazy character of the audience. When Marietta and Santos talked on the phone and hoped that he would not hurt Johnny, Santos' ambiguous attitude finally made her understand that Santos was "out of control", she could not control everyone, and even the people she cared about would encounter difficulties because of her. The good thing, I think Johnny can be said to be the last human nature of Marietta, and Santos' ambiguous answer is like the last straw that broke the camel's back. At this time, Marietta no longer needs desire and has finally become a The slave of desire, it is desire that drags her into the dark hell, when her last humanity is threatened, the filthy dark desire seems to be tearing her nerves, and Marietta is plunged into chaos and final madness, she is in her own wrist. And the face is covered with bright red lipstick, the whole face looks distorted, weird and ferocious, the dazzling red symbolizes the despair and pain in her heart that has nowhere to vent, and also symbolizes the wild desire. The whole picture brings the visual impact to the audience Powerful, coupled with tense music, it brings a strong sense of oppression to the audience, which is exactly what the crazy and perverted desire brings to Marietta. The good witch that appears at the end of the film is full of fluorescent powder, so she looks very strange when she descends under the real sky. In our general evaluation of "fifty cents special effects", it is: very fake, but It doesn't matter. In the film, this is what Seiler saw when he was knocked unconscious. This is his hallucination. He doesn't care if it's true or not. In reality, this is the director's redemption for Seiler. The true love between Le and Lola is the thing that can really save Seiler's soul, so Lynch doesn't care if it looks real or fake, even I once thought it was done deliberately by Lynch, using the witch's falsehood. The illusion highlights the truth of love, and once again points out the theme: love. The director is also very careful with the composition of the film. The scene at the beginning of the film is that Seiler and Lola were about to leave the venue at the banquet before Seiler was imprisoned. At this time, a black boy, Li Meng, stopped them. After Li Meng verbally humiliated Seiler, he took out the The knife was about to start, and then Seiler killed Li Meng with his bare hands. At this time, he looked back at Lola's mother who was standing at the top of the stairs, raised his finger to point at her, and Marietta's expression was intriguing, he wanted to speak again. With a hint of panic and a hint of arrogance. Here, the director actually sets up a suspense for the audience, throwing questions for the audience: what happened? What festival did Seiler have with Li Meng? Does this have anything to do with Marietta? These are explained clearly in subsequent meeting episodes. Later, after Seiler was released from prison, he called Laura's house, but it was Marietta who answered the call. She didn't tell Seiler that she would not allow her daughter to meet him. The conversation between the two ended in an unfriendly atmosphere. Now, Marietta hung up the phone and looked up to find her daughter standing on the stairs looking at her. These two pictures actually form a contrast. At the banquet, Marietta found someone to assassinate Seiler. Although it was unsuccessful, it did temporarily separate Seiler and Lola. At this time, Marietta's "trick" also Temporary success, she is in the dominant position, she is the "winner", she is above the steps and Seiler looks up at her from the bottom, which gives Marietta a visual sense of "everything in control" ; After Seiler was released from prison, Lola didn't plan to listen to her mother's words and not meet Seiler, she had already made up her mind to be with Seiler, so the decision at this time was her own, she was in the dominant position Yes, she was above the steps and Marietta needed to look up at her below the steps, and this up-and-down transition was a precursor to Lola's "out of control" for Marietta. Another interesting composition is that during the confrontation between Lola and Marietta, Lola is standing on the stairs, with the railing of the stairs in front of her and a window behind her, and the fence in the foreground also has a symbolic meaning Inside, it symbolizes the imprisoned state of Lola's mother, and the window behind her can also be seen as the director suggesting Lola's resistance to the audience. . When Seiler was released from prison and was with Lola, there was a dialogue between the two, but the two were not in the same space. In the film, there is an obvious line between Seiler and Lola that divides the two Here, Seiler is lying on the bed, and Laura is leaning against the wall, the mirror next to Laura can see Laura but not Seiler. I was impressed by this image, when Lola and Thaler talked about being 13 years old About being violated by her father's partner, she said, "Mom never knew about me and him", but in the subsequent recollections, the audience could see that she was lying. In fact, the mother witnessed her daughter being violated. A shattered glass doll, then she yelled and chased down her assailant. The design of the mirror tells the reader Lola's lie. The Lola in the mirror is a false Lola, and some of her words also contain deceit. It's the first flashback in the entire film of Laura herself being violated, Uncle Pucci's death and the witch's evil laughter. These not only give the audience a preliminary understanding of the characters' experiences, provide a buffer for accepting the madness of the characters and the film, but also pave the way for the subsequent plot development of the film. Another ingenious effect of the "mirror" in the film appeared when Poppy came to Lola alone. At this time, Poppy appeared vaguely in the mirror behind Laura and formed the same frame of the two. Poppy's appearance could It is said to be a big challenge to Lola and Seiler. Because of his appearance, both of them faced the hidden desires in their hearts. Here, Bobby's seduction to Lola also allowed Lola to see the filth in her soul. The desire of the mirror is the image of Poppy, which also reflects the desire of Lola. The first mirror showed Lola's lies, maybe it was a way for her to seek self-protection, and this time the mirror showed her naked desires. After Bobby left, Lola Looking in the mirror, he covered his cheeks painfully, as if he was examining and reflecting on himself, which also confirmed the rationality of this explanation. Director Lynch has countless "ulterior motives" lens designs. In addition, the use of the film's hollow lens has also made a lot of contributions to the natural transition of the entire road film. It is said to be a big challenge to Lola and Seiler. Because of his appearance, both of them faced the hidden desires in their hearts. Here, Bobby's seduction to Lola also allowed Lola to see the filth in her soul. The desire of the mirror is the image of Poppy, which also reflects the desire of Lola. The first mirror showed Lola's lies, maybe it was a way for her to seek self-protection, and this time the mirror showed her naked desires. After Bobby left, Lola Looking in the mirror, he covered his cheeks painfully, as if he was examining and reflecting on himself, which also confirmed the rationality of this explanation. Director Lynch has countless "ulterior motives" lens designs. In addition, the use of the film's hollow lens has also made a lot of contributions to the natural transition of the entire road film. It is said to be a big challenge to Lola and Seiler. Because of his appearance, both of them faced the hidden desires in their hearts. Here, Bobby's seduction to Lola also allowed Lola to see the filth in her soul. The desire of the mirror is the image of Poppy, which also reflects the desire of Lola. The first mirror showed Lola's lies, maybe it was a way for her to seek self-protection, and this time the mirror showed her naked desires. After Bobby left, Lola Looking in the mirror, he covered his cheeks painfully, as if he was examining and reflecting on himself, which also confirmed the rationality of this explanation. Director Lynch has countless "ulterior motives" lens designs. In addition, the use of the film's hollow lens has also made a lot of contributions to the natural transition of the entire road film.
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