When I first saw Woody Allen and Peng Haoxiang, he liked their little cunning when he liked literature. That year, "Central Park West Road" and "Won't Fall in Love" were bought from the bookstore together. Later, when I saw Woody Allen, it was the time when I initially started writing movies. Love his wit, but wonder about his unconventional theatrical approach. Here, I record the superficial analysis after the first viewing of the film, trying to answer my own doubts, and also provide reference for others if I am fortunate enough.
"Deconstructing Love Maniac" is a road movie, strung together several short stories, and finally ends with a drama character's highest tribute to the author. Stunning in structure and expression, Woody Allen's intelligence and wit is almost beyond doubt. The reason why this film is worth watching again is not because of the many details or the elegant pictures, but because the amount of information per unit time is too large, there are many lines to copy, and I consciously cannot keep up with the speed of the old man's thinking. His works are more inclined to the combination of literature and drama, focusing on the output of meaning and situational setting; rather than the use of audio-visual language.
1 Talent and high IQ
Every character he creates is himself, as eloquent and mocking as he is. I prefer to think that the part he played is closer to the real him, while the other characters are like his avatars blown out by his hair (although he was bald early, hey), but there are differences in appearance and identity according to the situation of the story.
Those short stories are all his talents and cunning: borrowing a friend's apartment to recruit a young lady and being accidentally taken away by death; an actor who can't be focused, his wife and children have no choice but to wear glasses; naming a black prostitute cookie; Crazy ex-wife, outrageous thanks to blowjob...a funny old man with a bad taste and a bit bad.
And the part he starred in (real time and space), took his son, a prostitute and a sick friend to embark on a journey to the university where he once expelled him to receive honors, and finally ended the journey because of kidnapping his son and imprisoning him, the prostitute was suspected of carrying drugs, and his friend died of illness. This is more like his own description, a mess of real life. The black prostitute called Cookie, the friend who died in the car... This road plot is already full of absurdity and ridicule.
And the most interesting thing is still, Woody Allen did not evade the fact that he was in chaos, he answered "I don't care about the real world, I only care about the virtual world in the novel" when answering the psychiatrist's question "Why did the school expel you" .
2 Creator's Self-Analysis: Breaking the "Fourth Wall"
When watching "Deconstruction of Love Crazy", the resonance degree surpassed that of Ou Rong's "Into the House". To a certain extent, the deconstruction of such dramas is the creator's self-reflection. A while ago, Han Han mentioned in a long post on Weibo: "No matter how upright you are at first, you will find yourself easily becoming a chicken thief, and often can't help thinking about how to incite more people. When I found myself tending towards this aspect, I reflected and stopped.” When the creator reached a certain stage in his creation, he began to realize that he was playing with characters or words to please the audience. Han Han called it “chicken thief”. ". This is what "Deconstructing Love Maniac" and "Into the House" are reflecting on. They put themselves outside the characters they wrote, and even directly broke the space station and went to the person in the play they controlled to direct him, so as to reflect My own "bad" intentions as a creator. Woody Allen is even worse, directly pointing out that the ex-wife in the novel is actually a combination of a hysterical ex-wife and a half-Jewish sister, making it look like an anti-Semitic work, and contains his own desire to discredit his ex-wife. "intention". In some other works, he even suspends the people in the play to directly face the camera to talk to the audience. He is more like a god, watching the world he has created, and mocking and criticizing it without hesitation. The most terrifying thing is that he not only realized this, but also gave his own response and evaluation:
A guy who can't function well in life but can only function in art. It's sort of sad in a way and also funny.
Almost all of his works are trying to deconstruct love, the artist's love, the artist's derailed love.
He has self-loathing, he blurs himself out and shouts: I'm the worst person in the world, I'm the fourth worst person after Hitler Goebbels. (It's all here, and I have to make fun of it. It's really full of bad and rotten.)
In the final analysis, as far as he can see, his greatest pain is probably that he clearly sees how talented he is, how to make people laugh, how bastards mess up love, and he can answer rationally, which cannot be changed. The pain of an artist and the pain of genius all come together. (It's hard to imagine how prolific and long-lived it is, and the recent sexual assault scandal isn't so unexpected...)
3 Woody Allen's view of love
In this play I just want to copy one line:
You know I cannot understand the most sophisticated of woman can't tell the different between a meaningless, hot,passionate sexual affair,and a nice ,solid,tranquil,routine marrige.
The psychiatrist said to him: Maybe you are the kind of person who is not suitable for marriage.
He said: Yes, but I will be alone.
About his view of love may be left to "Annie Hall", "Midnight in Barcelona", "Coffee Commune" and so on.
Many creators have given answers to the relationship between writing and real life that I have always been interested in, and here Woody Allen's answer is:
He had long ago come to this conclusion, all people know the same truth:
Our lives consist of how we choose to distort it. Only his writing was calm, his writing, which had, in more ways than one saved his life.
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