The dramatic plot processing restores the history of the music festival in the shadow of the documentary as much as possible: from the haphazard life of an artistic youth in a small town, to the crazy experimental fanatic in the warehouse and the Jewish mother's hotel and From the high-reward neighbors on the farm grass to the chaotic and psychedelic scene before and after the music festival, Ang Lee's narrative technique is as smooth and mature as ever.
I remember that when I watched Push Hands and Eating Men and Women, I was moved by the director’s humanized narrative technique. Later, Crouching Tiger, Hidden Dragon, although the market-oriented purpose of some episodes made people reluctant to open their mouths, but the wonderful story handling and The wonderful fight of the picture still stands out in the same type of film.
And after watching Taking Woodstock, I can't forget to see the swirls of stars on the hillside through the young people who ate LSD, and the long hippie team who drove all the way to the scene. The details of the characters and the handling of cause and effect are somewhat redundant. It seems that Ang Lee's fascination with character causality doesn't all fit the genre.
After all, biographical films are not a shortcut for everyone, and this type of film needs more lively pictures than biographies, and the interspersed fun of short stories. At this point, you should learn from some British films. The only thing I doubt is whether Ang Lee should try two LSDs!
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