After watching this trilogy in three nights, it is the last one that is getting better and better. At the end of the credits song list, I turned off the TV and thought, 'It's inevitable that this sort of thing is going to be a 'authority fan'.
The commonality between making a film and writing a novel is that "deleting" is as important as "writing". Sometimes it is necessary to be cruel. How many beautiful shots have been deleted from the King of Sunglasses' "Springtime", but if this is not the case, there will be no final perfect shape. In fact, the deleted part does not disappear, but remains in the film in a transparent form with smell and intuition, becoming a flowing rhythm that can only be captured by those keen touch.
Maybe too much happened in the 1980s, maybe it was Wim Wenders, who had reached the age where he wanted to urgently sum up himself, had a big vision, was very ambitious, and started to create an unprecedented, all-encompassing super highway movie in his mind . It contains all the places where he lingered, the retrospect of his growth, all the disputes in the world, the interpretation of culture, the philosophical speculation, and the future road. What a tempting idea.
In terms of location, the entire trilogy is divided into two parts. The first half is about escape and pursuit like 'around the world in 80 days', the second half focuses on the isolated Australian wilderness, and the end is from a space perspective. as a sublimation.
From the structure of the trilogy, each has a clear theme, the first is 'the world', the second is 'pure land', and the third is 'dreamland', completely realizing the road movie in structure The theme of 'exploration', the transition from the real world to the dream world, is the embodiment of those wanderers who complete the exploration of the self-world by looking for strangeness and exile everywhere, which is a kind of self-cognition of 'inner journey' process.
However, this colorful pursuit process lacks the power of linking, and is more like a gorgeous stacking. In particular, the first half of the film is like a 'Wenders Movie Selected Cut', which is a repeated list of venues and scenes in his previous films. It moves impetuously from one place to another, but lacks a link that runs through it. The plot is twisted in order to lay out these 'locations', and it seems blunt. So I think in the last part of the film, when the director calmed down, put aside the external things, and focused on the exploration of the inner journey, it was the time when the film began to be rich.
Or, this kind of boring is the essence of the journey. The director probably once was like the hundreds of thousands of backpackers who blindly travel around the world every year, always looking forward to the next destination, but didn't know where he was going. It is this impetuousness that makes the director amiable, getting rid of the serious air of the so-called 'film master', and like the literary youth in the next dormitory. (Looking at how he spends the night at Japanese marble shops and golf courses in "Finding Ozu," one can't help but think he's really cute.) Still, loving him is one thing, criticizing the movie It's another matter. When this kind of dullness is fully expressed on the screen, I think it is against the appreciation of the film. For example, Andy Warhol shot the camera on the Empire State Building for eight hours, motionless, do you think it makes sense? Of course there is. Is this interesting? Absolutely not. When you do something repeatedly or continuously to a certain extent, it will inevitably produce a certain meaning, but if this meaning is presented in the modern film in its original form, it will violate the practicality of the film.
Therefore, 'deleting' is also an art.
(Note: The appearance of Li Zhizhong was a surprise, and the old man lived to be nearly ninety years old. Jeanne Moreau’s appearance was another surprise, the old lady is still alive, and she is still active on the big screen at the age of eighty. Hear the cat How much tenderness and tears in the king's version is very funny. Although it's the original, I'm used to listening to Mandarin since I was a child. The Elvis version feels like a copycat. The heroine's acting is so bad, there are too many pretentious elements, and the expression of feelings Sometimes it's not enough, sometimes it's too much, and it's dumb. She's also dead, in 2007, of a heart attack, at the age of forty-six. In fact, Wenders went to great lengths to talk about it in this movie We all know the truth of it when we were in elementary school. Enlightenment education is the cartoon "Flower Fairy". Looking back, these two films actually talk about the same life principle, don't they? In the end, I was most angry Yes, who said that the truck driver in the Chinese part is Wong Kar Wai?!!!)
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