It takes a lot of courage to shoot Keats, because it is extremely easy to fall into the dramatic trap of interpreting the legendary life, and it is difficult to think about it. Jane Camping solves these problems with a downplaying narrative and a style that destroys coherence, and the most ingenious part of the film is that it takes a special point of view like Fanny.
As Keats's love biopic, Keats' point of view can be described as "I", a more subjective point of view, the choice of most mediocre directors, creating dramatic convenience stores anytime, anywhere, the source of sensationalism. The third party represented by his friends can be described as "he", striving to ensure a stable choice without making mistakes, wandering between true omniscience and false objectivity, which is most likely to create the illusion of life flow, and it is also easy to be mediocre. In the end, I had to resort to causal logic to help express my intentions and go with the flow.
Jane Camping's choice was Fanny - "you". If this reflects Jane Camping's consistent feminist perspective, yes. But if only the feminist point of view does not constitute a special stylistic method for this film, this is undoubtedly a biopic of Keats, a biopic about a genius poet whose short and splendid life itself exudes strong The poetry is enough to compose an immortal chapter.
The essence of "you" is that this is the point of view of poetry, the point of view most often expressed in the romantic lyric poems that Keats is best at - "I pray to be as firm as you". The point of view of "you" completes a double reference, that is, a reference to the love relationship between the two, and it also declares that Bright Star is a movie and a lyric poem dedicated to Keats. Jian Camping chooses Finn The idea of Ni's point of view is to recompile Keats' masterpiece Bright Star in film language.
In order to complete such a "movie poem", Jane Camping also adopted a form and style that matched the poem.
In the narrative, the plot is eliminated to the greatest extent, and the trivial life events are connected to form the backbone of the film, embroidery, recitation, outing, catching butterflies, waiting, and seeing off. The vigorous and lively landscape of the four seasons in the English countryside is heavily involved in the composition as an image, the suspicion among lovers and the stars in the night sky, the embarrassed poet and the rough wasteland, all of which are filled with Fanny's externalized feelings, and the means of this emotional externalization is exactly the same. It is a common allegory in poetry. In the aspect of editing, the coherence is basically abandoned, and the large contrast scenes and focal lengths are mixed.
Edgar Allan Poe once defined happiness as follows: 1. A life close to nature. 2. A woman's love. 3. Eliminate fame and ambition. 4. Create beauty.
Keats finally turned 25 and died thinking his poems were useless. However, from these four points, he should be happy.
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