The silver saddle shines on the white horse, like a shooting star. Killing a person in ten steps, without leaving a thousand miles. The Buster Scruggs in the first story is actually a bit similar to the "boy in white" in our culture. The guitar and ballads are poetry and fu, the white horse and pistol are swordsmen, white clothes, white pants, White hat, white horse, and finally white wings, he has a lot of idealism in him, yearning for order and civilization.
But he was still a person who regarded human life as a must, and in the end his own life was also harvested. A friend who watched it together said that the composition of the shots of the male protagonist killing and being killed is the same, like fate is like reincarnation, grievances are repaid, and there is no end. There are no good or bad people in this story, and violence is the only solution. The sun is shining in the west, and the dryness is full of strength.
Then there are still many details that are impressive. For example, in the second story, the last look of the male protagonist before the hanging is a long stare with the girl. In the crowd, a blue girl... and then the world He slammed into the ground again, and everything was over. I have never seen the perspective of a death row prisoner, and it can be so freehand and romantic.
There is also a third story where the artist without limbs is so impassioned on the stage, but off the stage, he didn't say a word. All his expressions are for making a living, cutting himself open for the audience to see, so that he has no more words to say after stepping off the stage. He did not deliberately sell his misery to gain sympathy, but tried to live with dignity,
"These our actors, as I foretold you,
were all spirits and are melted into air, into thin air."
But in the end, people still like grandstanding.
The environment of the fourth story is so beautiful, the color palette is more vivid, the peacock blue creek and the leisurely deer almost immediately pull the audience out of the frustrations of the previous stories. The elderly are also very emmm, mainstream value. How should I put it, the old man in the story should be a typical "red neck", a traditionally stubborn and hard-working people at the bottom, with typical Puritan values, and advocating self-struggle. Of course, in the end, the unavoidable killing and death (Can't I have a better story when I cry, not even one!)
Just, just about here, I'll drop the line later. At the beginning of the fifth story, I was still thinking what if the Coen brothers broke through and took a delicate Victoria's trivial arrogance and prejudice...the result emmmm...still absurd and deconstructed black humor
The 6th one was very good when I was distracted. The whole process was in a cramped carriage, and the pure chat was so exciting. I didn't understand the metaphor of the driver, but I thought it was super cool. Of course, in the end... Another corpse appeared
How should I say, I stand in the 21st century and call for love!
My own experience of watching the movie has dropped little by little from the beginning. There is no doubt that the story behind is also very good, and the depth of conception is not inferior to the previous one, but it is obvious that the director has reduced the interaction with the audience. In the first story, the male protagonist used a table board to kill people in a tavern and even had the feeling of Zhou Xingxing. In the end, he ascended to heaven directly to every audience, but I slowly felt this theater when I saw the latter, especially the fifth story. The sofa is so damn soft.
But anyway, I like it very much
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