The screenwriter should be familiar with the technique of "connecting flowers and trees", so he grafted Anna, a rose with thorns, on the towering tree of Beethoven. This female scribe who worked for Beethoven was born out of nothing, but she was very serious. She established a unique perspective for the film, created a lot of conflicts, frequently added fragrant condiments, and fabricated facts that did not exist. .
Placing a fictional beauty scribe next to a real musician; using the stories that might happen in the imagination to reflect the real human nature of the musicians. The biographies of the characters performed by both real people and cartoons on the same stage surprised me and felt fresh.
The first thing to explain is that although Beethoven is a replica, it is realistic and credible. His passion for music is naturally strong, and his dedication to creation is also layered. At the same time, he did not avoid his personality shortcomings - arrogance, paranoia, rudeness , Arrogance...
When I was watching the movie, I suddenly discovered that Beethoven, his character, his music, can be described as a trinity. Such a ferocious man with long hair and unruly hair is destined to be enthusiastic, irritable, paranoid, and arrogant, and such a character is destined for his musical passion to be raging. So when the movie reappears, everything is expected, the unbridled passion, the hurricane personality, the childlike innocence and fiery temper, and this immersed in the heart of no one else, and the informality The rudeness, including the clutter of the filthy room, was all that familiar and amiable, as we had long foreseen Beethoven would be.
As for Anna, the fictional heroine, the conflict with the music master from the very beginning, to reconciliation, to understanding, and to each other, are all plots we can expect or even look forward to. A moviegoer who has nothing to do like me, indulges imagination, loves to do things, and shelters passions. I am happy to see this withdrawn and manic musical genius in his later years, with beautiful and talented women giving spiritual comfort and taking care of life, and even expecting them to develop some vague feelings and some inexplicable ambiguous entanglements— - Hehe, you can't make a show without love, only if you have love.
However, when I saw that Beethoven was more and more inseparable from this woman who did not actually exist, that she had become the only key for him to pass the notes to the world through the cage, and that this woman was arrogant with music The genius of begging for her forgiveness, begging for her return, and seeing her even become the man behind the scenes of his splendid Ninth Symphony - I can't help feeling absurd at last, it's unstoppable The sense of absurdity caused me to laugh when I heard such pretentious and profound provocative words as "when the soul is silent, the soul sings".
I think a female director should consider avoiding the suspicion of falsifying well-known history by exaggerating the role of women in the film. Otherwise, it will make people feel narrow-minded.
Of course, the movie still has some notable points: The Ninth Symphony, which occupies the ten minutes of the film, is accompanied by the flowing "Grand Fugue" with long shots. The broken Chinese sentences have become the most irresistible reason for me to watch the movie, and it has become the most enjoyable part of the 100-minute movie.
Music, fortunately there is music, to save this not great literary film.
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