1. The use of sound in this film is excellent, and it can be called a classic in the fusion of audio and video.
The narration is not much but just right. In fact, in the dance part, I didn't notice the problem of the chest shaking under Adil's sweater. I watched it several times and didn't notice it.
Probably got tricked.
The soundtrack is natural. The jazz style and the long-shot close-up of the protagonist's face are quite relics of the golden age of Hollywood.
The silencer is clever and not obtrusive.
In one scene, Franz and Odile agreed to be silent for one minute, and the actual silence was about 40 seconds. It was probably because Uncle Ge was afraid that the audience would be bored, so he would end the show after a minute.
2. The composition is picturesque, it can be called a textbook, and a low-quality and fake literary film Eighteen Streets is thrown away.
The overall tone of the exterior scene is dark, dull and depressing; the interior of the villa is terrifyingly bright, and the pale white causes anxiety.
The position of the protagonist is just right in almost every frame, and the panning rhythm and the protagonist's movements are almost synchronized, so that the character is always in the center of the frame.
It is recommended that photographers learn how to shoot a dance.
The Odile in the mirror of the tavern and the figure in the wood at the end cooperate with the main scene to highlight the layering of the picture. This technique has been imitated and used by many pretentious literary films.
When Franz, Odile, and Arthur are in the car at the same time, the picture is always biased towards Odile and Arthur, and it is very incongruous when it is left blank beside Franz. Of course, in the end, when only Franz and Odile were left in the car, it was much more harmonious.
3. The only time the dog in the villa barked was when the three of them went up to the second floor at the same time.
Of course, the logic of how Arthur found the rest of the money in the kennel in one fell swoop is questionable.
4. The costumes of the male and female protagonists are still not out of date after more than 50 years.
5. A section of Odile taking off her socks can be shot like this now:
The shot shows Odile's skirt and calf, then slowly moves down and zooms in as the socks are removed, and finally gives a close-up of a foot.
(Quentin Tarantino likes it)
In fact, I am more curious, masked with thick black socks, is it really not blind?
6. Arthur's profile looks a bit like Al Pacino. Franz finally drives with Odile in a segment, and there is a similar segment in Martin Scorsese's "Taxi Driver". Franz at that time looked like Robert De Niro.
However, the mole on the right side of the face is missing.
7. The final scene of Uncle and Arthur's duel has obvious western shadows, holding guns to each other, silence, and then shooting.
It's just that my uncle's marksmanship was too good, and he didn't kill Arthur with a few shots, and he was shot dead by others.
Arthur walks around before he dies and finally falls down, which is also a usual performance shot in Westerns.
8. The rhythm of the film changes suddenly. The first half is the soothing country music, and the second half is the hurricane marching march, which is extremely cruel.
9. Ultra-feminist, this film is bound to cause discomfort.
Unintentionally revealed atypical Stockholm effect, no innuendo.
10. At the end of the film, I accidentally spoofed an old commercial film.
Official complaints are the most deadly.
11. Uncle Ge is getting more and more flamboyant as he gets older.
When I was young, I wore sunglasses and cigarettes to shoot "Outlaws" and "Exhausted", pretending to make young people laugh and spray fake literary bitches; when I was old, I made "Face, Village". then.
Some people are destined to fail, so they are willing to be the moths that fight the flames, and the grasshoppers that jump around on the ropes.
That's fine too.
My brother is here to wish you a happy new year.
I wish you a happy old age.
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