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Let's rant...
Donnell 2022-03-23 09:03:04
This film fails to capture the core point, maybe I still prefer more dramatic films. The director's editing is very enchanting, sometimes jumping violently in the bridge segment, and sometimes dividing the scene with a long visual pause to fade the scene, at least in the movie theater, the brain capacity can't keep up with the inner thoughts of this kind of intention. The film has a strong atmosphere of suspense, and I can't see it has anything to do with the plot. Maybe in order to exaggerate the white horror atmosphere of that era, I once thought that the male protagonist was a Gestapo or something. The strong suspicion even caused me to miss the recorder. A very subtle hint that the male protagonist used the theater radio to engage in bombing activities against the Germans. Many comments on the Internet are about the relationship between the big era and the individual, although I can't see any relationship after watching the movie, and I feel that neither the title nor the theme has been dug deep enough - it may be the heroic death of the war. Watched too many movies. Living in a troubled world and struggling to make a living is a very good interpretation, especially through the characters one by one—the characters in the film are very full (in addition, when watching this film, I expressed a strong sense of laughter from the classmates in the same theater) Contempt, as expected, I can't accept the idiocy contagion of joy that everyone laughs and laughs at) - the resistance to an era shown by a single character. Whether it is a pro-German ugly face or a cute girl busy on various studios, they are the epitome of the struggle for survival. As for the love triangle, I don't see any meaning at all, maybe it's Truffaut's own bad taste?
Extended Reading
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Leonie 2022-04-24 07:01:22
It's a movie within a movie. It's very special to shoot World War II like this.
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Lionel 2022-03-25 09:01:19
How should I put it, there is no special feeling... The narrative is good. The double-narrative film-in-film structure is used a lot now, thinking about how many layers Lynch has... but the corresponding effect is good. Gas pipe - subway. Iron Curtain - Emotions.
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Jean-Loup Cottins: This is Arlette Guillaume, our set and costume designer. Bernard Granger. He'll play Carl. You must have seen him on stage.
Arlette Guillaume: I don't think so. Wait. Yes, now I recall it.
Jean-Loup Cottins: At the Grand Guignol?
Arlette Guillaume: No, it was in something more ordinary. He played a man cruising the streets.
Bernard Granger: You can't judge me by that part. I was improvising.
Arlette Guillaume: Yet, I could have sworn you knew this role by heart.
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Nadine Marsac: You read palms?
Bernard Granger: Oh-la-la-la-la.
Nadine Marsac: Go ahead. What do you see?
Bernard Granger: I see...
Nadine Marsac: Yes?
Bernard Granger: I see that there are two women in you.
Nadine Marsac: That's true!