In my impression, the works of the Coen brothers have always been temperatureless. ("Drunken Country Ballad" aside, I don't think it's very Cohen)
No temperature doesn't mean bad, but it's a way the director chooses to express himself, so does Nolan.
Before watching "The Ballad of Buster Scruggs," the expectation was basically a mix of "Ground Thunder" + "No Country for Old Men".
Who would have thought that, as soon as Shelley's "Ozymandias" appeared in the opening paragraph, he suddenly felt "the wind is not going in the right direction".
It's strange, whether it's watching photography, watching editing, checking the set, or listening to the soundtrack, tasting the lines, and understanding the deep meaning, it's all cohen, but I always feel that it is very different from the previous works.
What's wrong?
I didn't fully understand until Franco smiled at the girl in the audience before he was hooded for execution.
temperature ~.
I don't call myself a person with a low tear point, but I cried three times throughout the film.
Franco smiles once, Liam Neeson throws a stone under the bridge once, Bill Heck proposes to Zoe Kazan once.
In this work, although there are good and evil parts of human nature, the warmth flowing in human blood is hidden in every character.
With the background of western Mexico, Cohen directly Po to the audience of all kinds of cruelty in real society.
The world is like the purgatory described in the "Divine Comedy", full of despicable villains and cruel bad guys. There may be a God, but God is just a bystander who neither administers justice nor cares about the fate of mankind. Or, there is no God at all.
Human beings are like entertainers with broken hands and feet, unable to control their own situation, unable to control their own destiny. Not only that, but in order to survive, I have to smear and powder carefully every day, stand solemnly and carefully in the center of the stage that I think I think, and recite the most sincere and moving poems over and over again. It's just playing the piano to the cow. In the end, it may not be as good as the cooing rooster.
Even if you are unparalleled in martial arts, proficient in hundreds of schools, even if you dig a gold mine and be worth thousands, you will not be able to win the wheel of history.
"Because it won't stop, that's the rule."
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Maybe there is no God, maybe it is destiny, but there are still people who are fighting against fate.
A slight smile on the gallows is a kind of resistance to fate; turning over in a gold pit to knock down a mean man and shouting "Mr. Mines!" to the mountains is a kind of resistance to fate; using experience and wisdom to face the Indian tribes single-handedly The two raids are a kind of resistance to fate; even facing the gate of death, gently straightening the hat, striding forward is a kind of resistance to fate.
And these are the warmest parts of human nature, and the most Cohen non-Cohen part of the Cohen brothers.
The style of the Coen brothers is very similar to that of the Milky Way, and the brilliance of the script is constructed through the uncertainty of the fate of the characters in the play. But the Coen Brothers are more warm than Galaxy Impression. Other than that, unlike the works of Galaxy Impression that almost ignore female characters, the Coen brothers not only focus on the portrayal of female characters, but also highlight the behavior and language of male characters towards female characters. the kind of respect.
Which one is higher or lower is the judgment.
I haven't seen "Roma" yet, so it's hard to tell which one will be the best of the year, but "The Ballad of Buster Scruggs" is undoubtedly my favorite Coen Brothers work in recent years.
I like it so much that I don't want to share it with others.
“We are all in the gutter, but some of us are looking at the stars.”
Interestingly, this line was also quoted in Nolan's most warm movie "Interstellar".
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