His songs are smooth and simple, with good vocals, in line with the taste of the early 1970s. When he swept the mainland tape market in non-standard Mandarin, I no longer listened to his new songs, but lingered on those old songs, such as the songs sung with Wenna's other four tigers, such as "The Sky One Only Geese", such as "Love in Late Autumn" and "The Roots of Love" that I love so much... I remember carefully editing one of his tapes, and the song titles are all beginning with the word "love". Adolescence is forgivable.
In fact, he has a song, although it is the main song, but it is not particularly eye-catching, that is "The Goddess of the Storm". This unruly song, and "The Man Chasing the Wind" in the same style but better are two of my favorites. It's much better than "Love Trap" and "Love Is So Sweet" (look, there are two more songs that start with this word, you can't hide it). Just as I like Leslie Cheung's "Intentional Sleep" and "Monica" better than "When the Wind Rises", and I like Jacky Cheung's "Blue Melancholy" better than "Wait for You Until My Heartache", that kind of more personal and slightly less mainstream The style of the song is more memorable for me.
Talking about these irrelevant past events, all because I watched "La Môme" (La Môme).
This movie has been around for a long time, and I haven't seen it, but I showed it to my parents. They said it was good, and I always remembered it, but I didn't realize it until the Oscars were announced and Marion Cotillard won the best actress. I hurried to watch it. Marion's dazzling appearance at the Kodak Theater is not really pretty in the movie, but it's the only way to win an Oscar. The gang of academies like the youthful invincible beauty and the unparalleled beauty. The little beauty self-destroyed her face and appeared on the scene. There was an example not long ago in "The Devil's Head".
After reading Rose Life, I thought of the word Storm Goddess, which is more appropriate to describe such a colorful and wanton little sparrow EDITH. Aside from the movie, this is the style of PIAF in reality.
Lately I've been afraid to watch biopics, especially biographies of singers. Because I have watched too many good ones, I always feel that it is really difficult for the latecomers to surpass them. How else can you shoot? After "RAY" (for which JAMES FOX won the Oscar for Best Actor), after "WALK THE LINE", how else can you shock the audience? If you broaden your horizons a little bit, there will be more awesome biopics - "Capote", "The Aviator", "The Iron Fist Man", "Good Night and Good Luck"... Even the Chinese favorite American film "" Forrest Gump is actually a biopic of a virtual character.
Western movies are really good at making this, and they have reached the level of perfection. I always feel that Chinese movies really need to learn from Western movies, don't go to the scene of special effects and sound effects, write them in a good book first, and then shoot a good character. If you can write a life or a fragment of a character, have a good biopic, and then go do those fancy jobs.
But La Vie Rose once again let me enjoy the impact of the movie. However, this time is a little different from watching a Hollywood movie. Although the director's interjection and switching techniques are very beautiful and can improve the level, the most important thing is that the beautiful and moving Marion really plays a not-beautiful little sparrow. It's so awesome, it's like RAY played by JAMES FOX is both male and female, illuminating the entire screen.
In contrast, JAMES is more pleasing, because he plays a blind man with flaws, so he has more characteristics. And Marion played an ordinary woman, and when she first appeared in the big nose Depardieu's nightclub, her huge bull's eyes rolled up and her back was bowed awkwardly, I decided that this person was a small Sparrow EDITH, just like the first time I saw JAMES shrugging his shoulders and grinning at the piano, I decided that this person was not JAMES, but RAY.
At this moment, their souls become one.
Some critical and intelligent audience members tend to criticize Marion for overplaying, and I disagree. Those qualities are not exaggerated and unnaturally contrived, but the inevitable reflection of a rebellious and colorful soul. This woman with hunchbacked red hair and eyes like bells, this woman in her 40s who was as old as her 70s and spent her whole life wasting her energy, she must have behaved in such a strange way. Because she is who she is, unique in the universe.
In terms of expressiveness, the French technique is different from that of Hollywood. I can’t tell where it is, but I feel that Hollywood’s technique is more conventional, while French’s technique is really artistic. Even if the same shot is shot, everyone will use similar techniques. But the taste is just different. I'm talking about the scene where EDITH learns about the death of his lover, Masai. From hallucination to hallucination, a great super montage that takes her straight from the heart-wrenching room to the stage. This method is very popular, and many people in Hollywood will do it, but what Olivier Dahan filmed and what Marion performed are different. Few other movie scenes can match the appeal of this scene to me. It has a kind of grandeur in it, a kind of compassion in it, and a kind of destiny in it.
Ah, by the way, Jean-Pierre Martins is really handsome, I guess the real boxing world champion is not so handsome.
Ordinarily I have to talk about the song "Life of the Rose". It is too familiar to me. I have been familiar with it since the first light music tape of Paul Molière. I have heard N people sing N. There is a version, but this soft and romantic piece can't completely summarize the temperament of the little sparrow. It's nice, but PIAF sings even better with her airy voice.
I watched this movie after watching the Oscars, so I would always compare the old PIAF in the movie with Marion, who walked to the podium with youthful vitality. Maybe because of this, I admire Marion's acting skills very much. The whole 140 She had no flaws in a minute. She is PIAF. She represents the sturdy life of a sturdy woman.
A sturdy life needs no explanation.
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