The director used many montage techniques in "The Old Woman and the Dove" and "Dating Crazy in the Beautiful City", which to some extent promoted the beauty of the animation. In "The Old Woman and the Dove", when the camera advances to the window of the giant bird's head that has just been completed, a slight upward movement is the giant distorted bird's eye in the cat's eye in the old woman's apartment; Focusing on the two white smokes from the chimney of the giant ship, the sky changes slightly. When the camera is pulled down again, the smoke is already a beautiful towering building, completing the transition of the space. The tadpoles on the dining table of the other three sisters' house, which were scorched and soft and mushy, turned into a cold moon in a flash. When they returned to the popular and warm room, the time had already pushed to the end of the dinner. There is also a montage of images and sounds at the beginning of the film. Souza and grandson Champion saw Bach playing on TV, and the piano sounded off the screen. The next scene is that Souza wants to play the piano for Champion. Whether it is image-to-image, image-to-sound montage, space or time of transition, there is a hint of strange interest, and beauty comes from it.
Director Sylvain Chomet's first job was as a spacer for Michael Dudok de Wit, I guess Sylvain Chomet was somewhat influenced by Michael Dudok de Wit, the director of The Monk and the Flying Fish and Father and Daughter The animation is seamlessly embroidered into the music, leaving only amazement in the sound. In "The Old Woman and the Dove", the protagonist wanders the streets, coveting the food in the hands of others, and then turns around; in the progressive joy, the protagonist's twirling dance steps, the food in his mouth, the falling calendar, the fattening body, the music sets the atmosphere, Drive the emotions and advance the cycle of plots. The music in "Crazy Dating Beautiful City" is more complicated. It seems that the director used Bach's equal temperament, Mozart's C minor, and more music made by Benoît Charest based on animation images. His creations are all included in the film's soundtrack. . The chorus of the three sisters also has the magical sounding of various everyday objects, such as vacuum cleaners, newspapers and refrigerators. The music itself is very seductive, and the plot and emotions are driven by the pictures. Words are scarce in these two films, and the ups and downs of the story depend mainly on the music.
Exaggerated imagery is a feature shared by both animations, and fatness and thinness are always sharp contrasts throughout. The protagonist of "The Old Woman and the Dove", the old policeman, appears as a skinny rib cage surrounded by Americans who are fat enough to roll, and pigeons that can't fly like solid meat balls. The pigeons have a luxurious meal, and he has only a pitiful meal of fish bones. It is a pity that the old policeman himself became a fat man with difficulty in action, and almost turned into a fat tender meat on the plate. The exaggeration in "Crazy Dating in the Beautiful City" is even richer. To the audience, Champion's body suddenly became thin, tall but as thin as a bracket, only the legs were like frogs, and the muscles were disproportionately strong. His dog was strong enough to reach a ball because he ate too much leftover food. People in Mirador are all thick-bodied and round-waisted, making it difficult to move around. Especially the women broadcast on the TV at the beginning, their breasts and buttocks are like giant meatballs, and their male companions are like pets, attached to these fat women. Of course, the description of the totalitarianism of the huge city in Mirador is more exaggerated. The first is the giant ship. The whole giant ship is rarely depicted in the film, and half of the silhouette fills the whole picture. The slender waist of the giant wheel, the tall and straight figure, and the small Souza in the picture, the urban totalitarian aura oppresses people's nerves. The montage of Mirador's chimneys was mentioned earlier, and there was also a performance of the metropolis buildings that broke through the sky. The camera pulled down for 18 seconds to get a full view of the buildings, and then there was a densely intertwined metropolis buildings without borders. . I deeply believe that this extreme exaggeration is the most characteristic feature of Sylvain Chomet's visual language, with profound interpretation and ridicule in the extreme.
Both of these two films created a very disgusting look and feel through "food", and they couldn't help but upset their stomachs when watching them. In "The Old Woman and the Pigeon", the protagonist dreamed of eating the suckling pig brought by the old woman, but was later eaten by the giant pigeon with its pointed beak; , and finally fell into the mouth of the cockroach unfortunately, and the fat pigeon meat exposed the bones. In "Crazy Dating Beautiful City" Champions are stomped on bicycles with blood. There are also three sisters enjoying the thick and sticky frog soup and tadpoles. The director deliberately described them in detail. The frog's half-legged, wide-open eyes, and the sound of sucking. Although Souza released a frog that could still move, unfortunately, when it jumped onto the rails, it happened to encounter a high-speed train, a beam of light, a whistle, and the camera was left blank. Time and time again, these scenes stir my disgusting nerves, not because of their bloody violence, but because of their lamentation at the pallor of absurd fate.
In "Crazy Dating Beautiful City", the exaggerated and symbolic characters are shaped very flatly, and the symbols represent the social group portraits of Facebook: the totalitarian class is the authority figure who is surrounded by the protection of black mahjong tiles; He tried his best to flatter his master, and knelt down and kowtowed with delicious food and wine; the bloated crowd were ordinary people whose brains were stuffed with propaganda and food under totalitarian control. Which one is going to occupy two seats? The Three Sisters and Souza were originally two stories, but they became a symbol of sigh after fusion. They used to be very popular, but the times have passed them by, the trophies are just on display, they live a simple life, and resist the over-materialized era of plastic surgery, probably because of this, they don't eat the garbage that makes people fat, only eat Frog casserole and popcorn-like tadpoles. The director pays homage to French comedy master Jacques Tati with the image of the three sisters, who watched Jacques Tati's comedy films and lived contentedly together so their music could gracefully from everyday vacuum cleaners, refrigerators and newspapers incarnate. Souza is relatively the most full of characters. She pours all her love into her grandson Champion, and all her motivation comes from this. She is nothing special, just a little smarter. She will try her best to use all ordinary things as tools, use egg beaters and vacuum cleaners to massage her grandson, use an iron tower model to adjust the wheels, and use alarm clocks and weighing scales to control her grandson. Body weight, the mechanical power of the bicycle to run the gramophone, and the Bruno as the power system for the wheels, the mount, the guide dog and the pedal boat. Every time I saw her push her glasses, her resolute eyes penetrated the audience's eyes. They were baptized by the sea storm on the small pedal boat. In front of them was the indestructible body of the steel giant, and the backs that could not stand the vomiting of the waves. They shuttled through the gaps of the giant ship like ants. When they came ashore, the oppressive tall and heavy The wall ladder, the immobile car like chocolate chips sprinkled on a cake, and the long, staggeringly steep slope must have shocked the audience, but these are just a foil to Souza's determination. Her fortitude is reflected in the cold whistle and food intake, but Souza is still an ordinary grandma, knitting sweaters, playing the piano, and singing badly, just to make her grandson happy and not fall into the wrong hands. Obviously Champion is more ordinary, although his name is Champion, but this is not the legendary story of him becoming a great cyclist, but the sad memory of his exhaustion and loss of motivation in the Tour de France. The director seems to have deliberately removed the characters under his camera from a certain To a certain extent, he was left blank. As a key character driving the story, his thoughts and expressions were avoided. Especially against the background of grandma's liveliness and spirits, he was like a dull and empty character, except when he was a child. He showed his love for bicycles, and no longer showed his feelings. I wonder if he likes grandma's devil-style high-intensity training regardless of the wind and rain, like this strict weight regulation, likes to participate in the Tour de France, and even I like bicycles. He obeyed like a robot, climbing, limp, eating, feeding the dog, and continuing to train. He didn't pay attention to grandma's well-tuned bicycle, which was lying on the side of the road like a wreck. He hesitated a little and got into the car. This is probably him Want to get rid of Souza's options. When Meidu had just landed, he saw his grandmother in the van and seemed to wave his hand at her briskly. After that, Boss Hei asked him to ride the bike, and he also rode without resisting. Only in the last scene, the old Champion continued his normal life and said something that he didn't say when he was a child to his grandmother, who was no longer there. The departure of his parents caused him to have a gloomy personality. He wanted to get rid of his grandmother, but only when he was getting old did he find the most inescapable dependence.
What is "Crazy Dating Beautiful City" about? Adventures? desire? Perhaps because of the various integration requirements of the production partners, this has become a loose story, just to present this absurd state of the world. The director wanted to express a lot, each character seems to have his own world, Souza's, Champion's, Bruno's, Mirador's, the three sisters, and even the uncle who rented the boat, waiting for his footsteps in the end Ship back. The interlacing of these worlds constitutes the ultimate absurdity. There are indeed blows and ironies to Mirador. At the moment of the great escape, the three sisters rescued Bruno, who was still confused and wandering there. Sadly, the totalitarian ruthlessness did not pay attention to the fallen colleagues in front of them. There are only stepping stones in between. However, the story and pictures of this paragraph are a little rushed, and they inevitably lose a little style. Is Bruno a normal dog? It is as faithful and honest as any normal pet dog. But when it was a child, it was pushed over its tail by a small train, so after seeing the train passing by, it couldn't help roaring wildly and venting. There are even many fantasies about tracks and trains from Bruno's perspective. Its absurdity lies in the sense of disorientation and confusion of identity. It eats more than Champion, and it becomes the passengers in the train staring blankly at the locked room. His people, Champion carried it like a perpetual motion machine on an endless track forever. It, Bruno, the dazedness of a dog, like the dazedness of the spectator about himself.
Of course, whether it's "Crazy Dating Beautiful City" or "The Old Woman and the Dove", the most prominent is the "innuendo" to America's name. In "The Old Woman and the Dove" one song after another, in the American camera, it is An unstoppable spherical body. They wear the national flag, they can't tell the difference between Paris and Amsterdam, they always carry junk food, they complain that the French food is unbelievable, they scare children, it will cause international problems, and it will be eaten by the French. The cold onlooker's camera perspective is always accompanied by a mockery of the ignorance and bloat of fast food culture and inflated desires. In "Crazy Dating Beautiful City", the Statue of Liberty, which the French gave to the United States, was turned into a fat man with a hamburger and ice cream. HollyFood replaced HollyWood as a famous attraction. Everything is to the taste of the audience, mocking the stupid Americans, which is the taste of the French. But these are all symbolic labels. The director himself should not be so disdainful of North America. What he wants to criticize is the fast food culture and inflated desire under the symbol, and the ignorance they bring. The film also fails to implement the pride of the French, whose protagonists have no financial resources and are too serious to eat. In particular, the old policeman in "The Old Woman and the Pigeon", as a public official in the society, lived such a miserable life. The pigeons, dogs and cats were all able to satisfy their desires, but alone, they lived very poor. Whose problem is this? Although Bruno is also a fat dog in "Crazy Dating in Mirador", he has an instinctive desire for food, but he is still a good dog, and his desire is a great help in the adventure of Mirador. Tear off the label and hit the sore spot, preventing these videos from becoming a battlefield of one-sided national sentiment.
The old policeman is an ordinary person driven by desire. He is skinny and has only a small piece of fish smaller than a finger for dinner. When he sees the delicate food that he cannot enjoy, he is naturally full of desires. Besides, this kind woman People always satisfy the pigeons unreservedly. Out of the call of instinct, the old policeman decided to eat. For the old policeman and the audience, the old woman is kind and loves birds, so the old policeman is very arrogant and has a vicious attitude towards the old woman, but the old woman still tries her best to please him, satisfy him, and by the way Study him. The desire to be satisfied stimulates the factor of happiness. Along with dance steps and music, the pigeons outside the glass window also seem to envy the old policeman. But the absurdity of the film is that, like us, he can't see the whole picture of the world he has experienced. He can only go a step further. It turns out that the old woman's so-called love of pigeons is just because she loves her cats, so she loves the cat's food, and she wants to eat the food. Most beautifully prepared for her cat to enjoy. It's a pity that what others can see is only the relationship between her and the pigeon, just like the old policeman and us thought that the ugly fat sweeping woman was just a maid, how could we know that she was the fat cat who swallowed. In the two films, the same character is often portrayed very differently, but some elements are retained, such as the cat's buck teeth and Champion's godless eyes. These elements are the invariable signs of character changes. In fact, in the relationship between the mantis catching the cicada and the oriole, the old policeman was powerless to prove that he was a human, not a pigeon. It was useless. Does the fat cat who covets him not know that he is a human? Besides, he has become one with the dove's desire - to eat. When the old policeman stole the popcorn that American children casually dumped on the ground, he could not help covering up and fleeing the scene with a guilty conscience. In the end, he no longer looked for an opportunity to avoid people's eyes to eat the food thrown by the Americans on the ground. In the camera lens, he fluttered his "wings" recklessly and competed with pigeons to peck at the debris on the ground.
Desire has blinded the poor old policeman, and his arrogance is a sharp mockery of his last powerless defense and hiding. The narration of the ending in the film pushes the absurdity that the director wants to express to a climax. When I went to the park for the first time, the statues at the entrance and the pigeons that fell from the old woman's balcony were too fat to support gravity by flapping their wings. They lost the ability to fly and rolled directly to the ground. Like a prophecy, it warned the old policeman's fate: he fell out of the window reluctantly. He tried to flap his wings like a real dove, but he still fell heavily. He wanted to prove he was human, he couldn't, he wanted to be like a dove, he couldn't. The flightless pigeon, the person who pretends to be a pigeon, desires even deprive them of their instincts. The plucked pigeon chased and preyed on the small cockroaches on the ground, and was finally eaten by the small cockroaches. The old policeman had long dreamed that he was in the park. He was summoned by the old woman to eat the leftover roast suckling pig. The old woman loved him, and the giant pigeons swarmed him later as a delicacy to disembowel him. The old woman also loved him. They, maybe the old lady also loved the suckling pig. When the old policeman fell to the ground with a surprised look on his face, pigeons flew away and fell on him to peck him, and he could only be surprised and lonely, a bare foot and half a squashed bird Headgear, back to the original life.
The French don't eat pigeons, even though the Americans complain that they eat all kinds of weird things. The old policeman plucked the pigeon's hair but didn't eat him, but the old woman who "kindly loves pigeons" gave her cat a variety of rare pigeons. In this absurd world, people, pigeons, cats, no one is at the top of the biological chain, the open food chain is like a game, absurd and beautiful game.
[I was halfway through writing, and I dreamed of being scolded for running accounts...]
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