One bright spot:
But what impressed me the most was that a man with a lost face walked up to the top of the twin towers, looked around, saw the two of them, saw the two of them, and then went down again. I think he wanted to commit suicide by jumping off the building, but when they saw them looking at him nervously, they felt they could not die, so they went down.
The last part is a climax, with various twists and turns, but this twist is tight and loose, and the bird could express this same feeling. When the police and the people were sighing for the feats of mankind, a bird flew over and flew away again, despising it all. What a poetic shot this is!
Three shortcomings: Is the
monologue mode of expression feasible?
The film runs through the protagonist's retrospective monologue, from reality to the past, and shows the causes and consequences of the twin towers in a regular manner. But just the rules, the twists and turns, love, ups and downs that a melodrama should have, and finally back and forth on the wire, salute, lie down, touch the bird, etc., are also there, walking high in the sky tremblingly, changing It became a game of evading the police, and suddenly the energy was gone, and it suddenly relaxed. In fact, walking a tightrope is a very internal activity, and perhaps a monologue is necessary to let the audience understand what he is talking about. But the photography and music of this film show his inner activities. In fact, this film has a lot of room for photography and soundtrack. Wouldn’t it be better if it were replaced by a third-person narrative, or narrated by an onlooker? Like the "Perfume" model, the appearance is the weird actions of the characters, occasionally interspersed with a few introductory narrations, you can see the ending of the others, and how much impact it will bring to the audience when the final result is reached. The perspective of the bystander, such as from the perspective of the photographer inside, can also construct a story, so-and-so that I know.
Are the actors appropriate?
Gordon makes people feel a bit naughty and efficient, and a bit embarrassed, a little melancholic, and a bit honest. He is really vivid in acting as an office worker who loves summer for 500 days, completely like a passive boy in love, but such a A fanatical tightrope walker, a person obsessed with certain crazy things, can he really express that temperament? I always feel weird, I don't have that kind of lens feel. Thinking of Leonardo, he has played a lot of neurotic roles, maybe you can give it a try to show the enthusiasm of the tightrope walker. But the role of the film is set to be a Frenchman. The fascination of the French cannot be called fanaticism, but romance. "Perfume" is also a story of a Frenchman, which tells the delicate, romantic and adventurous spirit of the French. The current movies have more infiltrated the connotation of American roles, and the feeling of the United States is too strong.
Is the role too ordinary?
In the 1980s, the Petronas Twin Towers were first built. From Paris to New York, he came to the new world. He was fascinated by the new world, fascinated by New York, from the old Europe to the new world, from the fascination when he was young to the breakthrough when he grew up. With teachers, girlfriends I met on the streets of Paris, and photographers, we can develop a lot of interesting stories, but the reality is that all the characters in the movie are too monotonous, and none of them have personalities. Everyone is a foil. The protagonist is also a green leaf, and there is no bright spot.
In a word, in fact, this should be made into an art film. It has the characteristics of an art film. It is more than enough to create a great character. What a pity!
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