The fat guy personally liked the Italian horror master Dario Argento's "The Storm" in 1977.
That's definitely the pinnacle of Giallo Film ! Dario Argento has established himself as a horror-thriller master in just 14 minutes. strong use of color,
Weird style, futuristic paintings and architecture,
There is also the signature Goblin psychedelic electronic music, which makes the film "Gloomy Wind", terrifying and terrifying.
40 years later, "The Storm" is still the most classic horror thriller of Italian films. The lingering fear transcends time and space, and it is still remembered in our hearts. Fellow Italian Luca Guadagnino was in the spotlight when he announced a remake of the horror classic. It is no exaggeration to say that the "wind" of the new version of "Wind Wind" blew for a whole year last year.
From the warm-up on the eve of Cannes last year to the premiere at the Venice Film Festival. After that, the word of mouth was polarized, and the two sides quarreled with each other, and the entire film festival almost became a debate contest of "The Storm". The director Luca Guadagnino, who became popular with "Call Me by Your Name", has won countless praises. Suddenly, his style changed and he made horror movies. Instead, it was a remake of a classic, which is really coveted.
In addition, Quentin, the film's number one fan, "recommended" after watching it .
Some media people directly claimed that "beyond the original version" , and this series of comments made people curious about the new version of "Squirrels of the Wind". As a horror-thriller patient with a heavy taste of plasma, after watching the new version, Fat Brother felt dazed at first, and bored at the second, fearing that his personal preference would affect the overall judgment . A "not very recommended" rating.
The new version of "Blast of the Wind" is indeed "not good-looking". Its "not good-looking" lies in the excessive innovation , which makes the threshold for watching movies a bit "unattainable". The new version of "Squirrels of the Wind" is too niche, causing its evaluation to be severely torn apart. The old version of "The Storm" was born out of the prosperous period of Italian lead-yellow films. The audience has accumulated a certain style and aesthetic ability. Dario Argento just dispatched various elements to the extreme, highlighting the style and weakening the story.
But in the new version of "The Storm", the courageous Luca Guadagnino has made drastic changes to the original, but only borrowed the core part of the story, from style to story, from actors to theme. innovation.
In the story, it still tells that an American girl went to a dance group in Germany for training, and accidentally discovered that the dance group, which was all female members, was actually a cult organization controlled by witches.
The core members of the organization, training young female dancers, are actually looking for a host for the leader of the organization, the Goddess of Sigh.
The young girl is the future body of the goddess of sighs, helping the goddess of sighs to resist the decaying youth medicine of time. The members of the organization will use various methods to slowly make the girl submit,
From food to life, from body to spirit, constantly weaken and exercise control. Susie played by Dakota Johnson, as the new version of the heroine, seems weak, but in fact has a hidden murderous intention and a special identity, which has also become the biggest narrative turning point of the whole film.
The old version of the story adopted the narrative rules of traditional Hollywood movies,
With a little bit of Hitchcock's suspense, the story is about the resistance of weak women, the rejection of the collective by the individual, and the war between good and beauty against ugliness and evil. The ending is bright and the audience enjoyed it.
However, the new version of "Blast of the Wind" subverts the entire story line. At the end of the film, the victim in the eyes of the audience, when the heroine Susie reveals her true face, the relationship between the characters has a 180-degree reversal, which scared the audience almost unable to hold their chin. And throughout the story, a lot of branch narratives have been added, with political, gender, and religious metaphors.
Politically, the background story is set in the civil war period when the Berlin Wall has not yet collapsed. The Berlin Wall, which symbolizes ideological barriers, has appeared on the screen many times.
And the Witch Academy is built right next to the Berlin Wall. The actions of the "Red Army" resistance organizations were mentioned many times on TV as the subtext of the narrative, and these background information provided a large amount of political text for the audience to interpret.
But the film's most concentrated metaphors come from the transcoding of gender and religion . The main characters of the whole film are all women, not to mention the bloody appearance of the goddess of sighing in the film. The men in the film are either arrogant or cowardly. For example, the police detective who came to investigate becomes the "pet" that the old witches tease, while the knowledgeable old professor becomes the victim of the witches because of overconfidence. In the middle is the object of humiliation by the witches, and is one of the playthings that are completely controlled.
The performance of the female body is the highlight of the whole film , and it is also an important aspect of feminism. Director Guadagnino's reference and tribute to feminist art throughout the film is based on the high degree of exploration and utilization of the female body. The dance in the film originated from the German female dancer Marie Wegmann, and was carefully choreographed by the modern dance finger Damien Jalet. The relationship between dance and religion is a ritual of sacrifice; dance posture and control are intertwined, and it is the obedience of manipulation and assimilation; at the same time, it is also a punishment after failure of resistance and betrayal.
There is a spine-chilling parallel clip in which the new girl is trained to dance and the girl trying to escape is twisted to pieces;
The bloody dance at the climax at the end of the film is even more shocking. The dancers are almost naked, dancing wildly like Dionysus in blood red. The dance and the body in The Wind is the medium through which women channel violence and power, implement witchcraft, and spread fear.
The body artfully forms symbolic significations with themes of gender identity, violence and control, death and life. Therefore, the core element highlighted by the theme of the new version of "Squirrels of the Wind" is the secret relationship between the body and control . From the exploitation of the female body to the creation of artistic imagery of the female body, Luca Guadagnino's efforts to characterize New Age feminism are worthy of recognition.
But this also puts forward requirements for the audience's ability to interpret. Too many symbolic metaphors and blank texts make many audiences yawn and yawn, and the horror of the film is therefore weakened.
Starting from dance, it has completed the subversion and reconstruction of the old version of the classics, but it also paid the price of "advanced". Whether the new version of "Sinister Wind" is a classic or a failure, I believe that time can give the final answer.
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