The problem is, after seeing so many Kaufmans, none of them brought me to tears. Even if he recited over and over again about death, loneliness, and life in my ears with fresh and powerful words, and with gorgeous replacement flips, I still couldn't be moved.
Maybe you should look at Kaufman from a different angle, yes, unmatched in terms of imagination, but eternal LOSER in terms of interpersonal communication.
Most of his films are not in line with traditional film drama practices, what he did Instead, it is more like a Chinese chapter-style novel. In the time of one film, let the conflicts, contradictions and obstacles of the same level and the same quality, after one monster be defeated, there will be the next monster. These plots are indeed driving the plot direction. The next scene, but the contradiction did not escalate, and the plot stopped in place. When the story stops depends on when you want the movie to end. In his story, it doesn't matter what happens, it's the words that matter: he's crying, he's talking about love, but you never feel love, why? Because Kaufman never knew how to use emotion, he was always casually looking for a fulcrum for his characters, and then applying the greatest magic, the strongest reflection, to them. No one knows how to write confession lines better than Kaufman, but these lines always feel out of place, and always happen too hastily, without cause and effect.
The crux of the matter is that the male protagonists in his script, despite their talents, are all equally frustrated. Long-toned, slow-paced, balding moments of crisis threatened them. No matter what social status they are in, poor or rich, as always, they never learn how to smile sincerely to those around them, and they hate everything around them except the one they love. But even the choice of this lover is random, or, for Kaufman's male protagonists, as long as a fleeting warmth can determine the age of the world. Even, they don't need to know who the other is, just hug, kiss, make love, and just attach "love" as an eternal theme to a living being.
Do you think these are failures of his character's personality?
It was all Kaufman's own failure.
Before 2015, Kaufman faced his social barriers with a proud attitude. He believed that he was the person who knew how to love the most, but others were inferior to him, so he was always hurt in affection (who made you The affection is always sudden and paradoxical).
Abnormal is a turning point. Kaufman got back on his feet, and he wrote a three-act play in a proper manner. Although by the last scene, he was once again unable to restrain his imagination, and he no longer cared about whether the triggering event was logical or whether there was a cause and effect. He just hoped that those plot points would be like buttons, when triggered by the progress bar, the audience would be impressed. produce an inexplicable pleasure. So audiences should be delighted by Kaufman's progress in character -- after all, his characters and scenes have gotten out of hand right from the start.
Moreover, from "Disorder", we can see that Kaufman finally captured the delicacy of love, so precise, so accurate that if it weren't for the stop-motion animation settings of the film itself, and the thousands of people who are exactly the same as "Puppet Life" One side of the scene design, this can be regarded as an undercurrent of European independent film production.
But what did Kaufman say through the character's mouth? "The president is a war madman" "Artificial intelligence is destroying the world" "The world is collapsing"? This naive accusation really shouldn't come from this genius screenwriter. However, it is understandable that Kaufman has always been bad at writing politically profound things. Although he likes to use some vulgar left-leaning political slogans, this is not his theme.
Not the point of his movie.
In the past, his stories always ended in the protagonist's treacherous perspective and sad monologue. This time, Kaufman put his perspective on the heroine. We saw that in the eyes of the customer service manager with a broken forehead, the world is not one thousand people. It turns out that these are indeed the abnormalities of the male protagonist.
Kaufman finally realizes, and honestly admits (in his previous works, the sincerity of the actor's mouth is deceit) - that he is the "abnormal" one.
Don't be fooled by his dazzling plot and setting, Kaufman's works are actually not difficult to understand. In fact, they are: the loneliness that cannot be relieved caused by communication barriers. This kind of loneliness cannot be solved by any conventional method. Like Hamlet's inherent indecision, it's a perpetually personal disease.
This is Kaufman's personal disease, not a collective one. Even if many people are alone, they do not have such innate hatred and contempt for those around them.
Fortunately, he found his place, without the hegemony in "New York Synonyms" that records his life in all directions. In "Disorder", Kaufman finally learned to appreciate others while admitting his character flaws, and With a little tender longing.
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