In front of various masters, Ou Rong does not need to worship the mountain, he keeps trying to find the movie feeling of the past era. This time in the 1970s, he chose female autonomy. When Ou Rong jumped out of the new confusion brought about by sexual orientation, Tom Tykway used a boring and fancy way to shoot an Ou Rong-style male and female work "3". From this, I created a kind of confusion, and then I reflected on whether my previous impression of Ou Rong was too rigid. In fact, his style is far more flexible than most people imagine and should not be framed.
It should be said that the freshness brought by "Vase" is still very prominent. In a slightly hypocritical opening, Deneuve, who was practicing in the morning, was like a queen, enjoying the morning light bath and pity all living beings. Starting from the family and spreading to the society, the unabashed relationship between men and women, the frequent occurrence of accidents, and the inspiration of lines have all created many surprises. Some people's impressions may still be at the beginning of the century. Well, "The Vase" happens to be a work by Ou Rong that is closest to "The Eight Beauties". In terms of black, the inverted black is gone. The movie has a lot of music, the actors perform on stage, the characters sing and dance, sing and dance, and the viewing is very strong. Some people also think that "Vase" is very strange, unlike the more literary works of Ou Rong ("Under the Sand", "Swimming Pool" and other films), which is the inevitable choice of theme. After all, when "Angel", "Ricky" and "Asylum" could not arouse the evaluation interest of the outside world, "Vase" did it easily. There are many reasons, such as the use of veteran Catherine Deneuve and Gerard Depardieu, but only in terms of completion and smooth storytelling, "Vase" is indeed the director's best performance in recent years. one time.
The film presents a traditional French comedy style about women and the 1970s, but there is a lot of irony in it. If the selected audience is familiar with French society and culture, they may also see where the current affairs are pointed and ridiculed Sarkozy's policy that will soon be made into a biopic. "Vase" is accompanied by lighthearted humor from beginning to end, and Ou Rong continues the consistent middle-class theme, reporting distrust and "mocking". But in another part, the feminism of the film may be more prominent. At the end, everyone shouted that Deneuve came on stage, which completely became a tribute and innuendo. Women gain discourse status by fighting for it, and this image is more reminiscent of many French films, from Demy to Truffaut. Although Deneuve also undertakes some of the funny functions, more often he appears as the leader, which is both cute and powerful.
If you speculate about Ou Rong's relationship with women, according to common sense, most people will think that he is a good girlfriend and understands women very well. However, when faced with the new problems of the first two works, Ou Rong seemed particularly confused, and hoped that there would be more active actions to intervene. In "Under the Sand" and "Swimming Pool", Ou Rong only gradually analyzed the female characters, focusing on the psychoanalysis of the inner realm. And "Angel", which is disliked by others, is actually just another female incarnation in front of the fake set, and he may not necessarily identify with the character itself. It wasn't until "Vase" that he lifted weights lightly, you thought he was serious, but he was actually playing. You think he's having fun, but there's something serious about the movie, and aside from that, it's a real treat.
"Vase" didn't degenerate into a mediocre indoor drama, and it didn't get overwhelmed by gimmicks. Ou Rong has a good grasp of the psychological changes of Fu Shi Nai. He has the name of a vase, but it has not become a vase movie for decoration. If you compare "Little Love Songs from Paris", which is faithful to individual and personal emotions, "Vase" is much more obvious. It decisively intervenes in family and society, and chooses slightly more complicated political issues-although the whole process is handled with a bit of French romance. Sentiment, but isn't that what the movie wants? Very harmonious, everyone is happy.
And even in such a movie, Ou Rong still did not forget that there is a bar, accompanied by music, the protagonist will come to such a dance. There are flashbacks of two people in the backlit by the sea. These have become Ou Rong's personal labels and have appeared repeatedly in previous movies. Therefore, it is difficult not to regard Ou Rong as a writer-director. It’s hard to say that his years of trying are important, but it’s definitely beneficial. After all, not everyone can understand “Man and God”, and the wealth of French films may not necessarily be inscrutable symbols or aesthetic criticism, and light comedy is the same. There can be a day.
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