The whole is dramatic aesthetics, but he suppresses color and experimented with long shots. It is not because of the pursuit of authenticity to take long shots, but to experiment with long shots and take long shots, which leads to more unnaturalness. This includes the narrative logic and its format established by the audience. And make the film more stage play, such as space, performance, story, scheduling and so on. Although time is basically a natural flow, it is at best the natural flow of time on stage, as Bazin said.
Long shots do not represent authenticity, and Bazin does not oppose montages. He just believes that montages should be banned under certain conditions based on the principle of authenticity. Although, Bazin seems to think that long lenses and depth-of-field lenses do not use abstract montages (conventional logic) to more truly represent the complete time and space.
However, I believe that completeness is not necessarily true, nor is concreteness necessarily true. Reality is precisely composed of completeness and fragments, concrete and abstract oppositions and unity. However, if people want to understand the world and exist in the world, they must use reason to divide and complete, establish models, and constantly modify models in practice. In this process, people still retain their unconscious perception of the integrity of the world and yearn for unity and purity. This is still a unity of opposites.
Therefore, although truth itself is ambiguous and ambiguous, in order to circulate between people, truth must have a limited basic meaning. Only in this way can the "myth of complete-fragment film" approach gradually. The scheduling of long shots and depth-of-field shots is called intra-mirror montage. The essence of montage lies in juxtaposition, and the effect after juxtaposition is 1+1>2, and the relationship between the two elements before juxtaposition can be parallel. , Counterpoint, harmony (harmony). The two ways of juxtaposition are connected through human abstract thinking, but the mirror montage is more invisible.
And the aesthetics of this film is not based on the relationship between the two opposing styles (see Bazin’s comment on “The Diary of the Country Priest” in “What is the Movie”), so the forced experimentation of this long shot greatly weakened Xi Fat The style of the movie has weakened the suspense and tension of the film, and weakened the film.
Although it is not easy to compare myself with the master, I still remembered that when I was filming, I turned this intention into a dogma for a certain aesthetic intention, forcibly restraining myself, and ultimately failed the experiment and the story. Of course, it was also a gain. .
It cannot be compared with "Crime and Punishment", nor can it be compared with "Pickpocket". Especially in the end Su Guan came to a calm repentance, and talked a lot of great truths. But is he really repentant? Does he realize that he has an unshirkable responsibility? He just turned into a guardian of justice, "AND I CAN HELP, YOU'RE GOING TO DIE! BRANDON, BOTH OF YOU!" and sentenced the students who had been trained by him to be better than blue! In the end, the two students who failed completely (not only the crimes were exposed, but the values were also killed) one drank and the other played the piano, while the dormitory put the gun on the deceased's coffin (I also expect him to swallow the gun by himself...) with his back to the audience. While sitting, I was finally able to rest. This ending immediately pulled the film to the next level. But it inadvertently exposed the paternalistic educational logic and the ruling logic of power. . . If Billy Wilde shoots, I think there will be another classic ending in film history.
In addition, I feel that the shadow and darkness in the film are seriously lacking, and it feels more staged, and the atmosphere is not curious enough. The most outstanding thing is the long shot of the murderer at the end of the film, and the most self-defeating thing is to use the coffin as a dining table, because the huge doubts (why the two tables are used so abnormally) are left unresolved. This makes this "perfect crime art" a joke, and shakes the foundation of this story, and this film is obviously not suitable for making this a joke. In other words, the film and the protagonist are not smart enough.
Of course, I am a bit demanding of the ancients. I can't help but look forward to how Billy Wilde will make this story, and even want to adapt it myself. . .
I think, probably because of the above-mentioned reasons, Xi Pang wants to destroy this immature experiment. In fact, there is no failed experiment, only the failed experimenter who admits to the failure and stops.
But the existence value of this film is indelible, even its indispensability is the same as the indispensability of "Crime and Punishment" and "Pickpocket". Avant-garde films, commercial films, art films, experimental films, and even student work are all indispensable, just like a biological chain. And brave explorers deserve the highest respect, because their choice is the most difficult and risky challenge, not everyone's answer.
The difficulty and risk of shooting this film are extremely huge! Fortunately, Xi Pang failed to destroy it.
I am really a half-hearted student, and I welcome your criticisms and corrections.
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