During the five years in Canada, I didn't watch Canadian movies seriously. I watched a few good movies this year-"Arrival", "Blade Runner 2049" and this "Mommy", only to realize that Quebec, a place where some French people laughed, is also rich in high-scoring movies! "Mommy" Dolan, a director born in 1989, used his delicate and sensitive shooting techniques to capture the precious path of redemption for a single mother to her child. Without spoilers as much as possible, let's analyze and compare "I'm not Pan Jinlian" and this masterpiece "Mommy".
Emotional line If "Pan Jinlian" shows the introverted and forbearing love of Orientals, "Mommy" is a perfect interpretation of the free and indulgent way of feelings of Westerners. The emotional lines of the two films both begin with family affection, and after the story is told, it is far greater than the connotation of family affection. It's just that one part starts with "lost", and the other one ends with "lost" in the end. The film rhythm "Pan Jinlian" is one of the many literary and artistic works directed by Xiaogang with few lines, even less than the other "Big Name" I like. The rhythm is steady and powerful. The fly in the ointment is the repeated plot of the complaint in the middle, which is slightly lengthy and slightly tedious. The rhythm of "Mommy" is always between fast forward and slow forward, which is very dynamic and easy to retract. For example, the absurd mother at the beginning brought out the "White Flag" with a female voice whispering, which is perfectly integrated and perfect. Lens language: Perspective. Remember how many times in "Pan Jinlian" Director Feng shot from the back of the heads of leaders at all levels forward? Each time, the round width was adjusted and replaced with a square width. It can be seen that this is a mark of him, and everyone should have got the deep meaning he wants to express. "Mommy" uses a simple and rude close-up Zoom The way of in drove a tense atmosphere and practiced the crazy plot. Zooming in on the actor's current micro-expressions is a testament! (And it is really not easy to do this and edit it like this in a movie with such a dramatic rhythm. Similar works include Zhang Yimou's "Return", but I think Duolan is more advanced). In this way, the method of using perspective creates an extremely tense atmosphere and chemical reaction, which shortens the distance between the audience and the movie characters. Summarize the feelings after watching "Mommy". It is different from other movies in that you can relate the story of the movie to the life around you. The life of the protagonist seems to be far away from you, but you easily entered the role of mother she created. You are just immersed in the role she played. You can feel her pain, and you can’t get out. I am definitely another brand new experience. Lens language: Many people in Fangyuan said that Director Feng created a first in the film industry and commendably used the round frame to interpret the difficult journey of Li Xuelian's visit. I have reservations after watching "Mommy". The round frame in "Pan Jinlian" may have two meanings. One is like a kaleidoscope of the old period. Some people say that you can see the colorful scene by turning it. Another meaning I understand is, remember the stalk of using saliva to poke a hole in the window paper in Gongdou Opera? What you see from that cave is often the damp, dark and unknown story in the deep palace. So I would rather believe that what he wants to express is the second meaning. This is a damp and a little dark story. The whole story of "Mommy" basically uses a 1:1 square frame to advance the plot. After being suppressed for more than an hour, it turns into a widescreen in the form of a surprise opening of the movie curtain, showing short-term hopes and good wishes. It is hoped that this operation should be the first person in movie history to physically open the movie screen with the hand of the movie character. It is said that thunderous applause rang out from the show to this moment in Cannes. Then the plot quickly returned to despair, making you feel that the square frame in front was paving the way for the explosion at this moment. I think that the director should want to express the more real and compelling life under the square perspective, and the use of the two times reflects the director's unparalleled confidence in the "experiment" of this kind of lens. For another good film to be shot by adjusting the format, please refer to "Old People in Mountains and Rivers". In the application of film soundtrack music, I think "I'm not Pan Jinlian" is slightly better. Director Xiaogang was able to apply the traditional drum sound Zhang Yimou used in classical movies to Li Xuelian's visit. It was very experimental, but it was so reasonable and reasonable. The majestic drums highlight the fact that this may indeed be an unjust case. The music in "Mommy" basically uses Pop music extensively. It can be seen that it comes from a young director. In addition to "White Flag", other songs are also well used. Every time the music plays like a movie character Everything off the screen declares war, telling the audience that the battle is about to begin, wait and see. Later, I couldn't tell whether the music was playing the rhythm of the movie or the movie was eliciting the music. Friends who have watched the most awesome scene in "Mommy" must remember that the director used a slightly trembling camera story to narrate the scene when the mother imagined that she would gracefully attend the future wedding of this insane's son. As the camera rotates, you can’t tell whether it’s daytime fireworks or pure fantasy, but the emotions have been rendered to the extreme at that time, and I burst into tears. Which mother does not want her child to be romantic and beautiful like soap bubbles life. This is also the most exciting scene I think. I really hope that future is real. The director replied in an interview in Cannes that that paragraph is certainly not true, because there can be no hope and no future for both mother and son. Two or three comments about "I'm Not Pan Jinlian", do you remember the scene where Fan Wei appeared in "I'm Not Pan Jinlian"? I think the director or screenwriter is a bit too heavy. In that scene, I would rather watch Li Xuelian weeping helplessly beside the tree. Director Xiaogang joked, his lines became LOW, and the whole was LOW. The setting of the scene where Fan Bingbing and Guo Tao escaped from the snow lotus beef soup on a bamboo raft in the middle of the night is also too realistic. In fact, it may be directly cut to the point where they sneak out, and the process of slipping out may be blurred and imaginary. good? This is where I think Dolan is better than Xiaogang's director. His film is immortal, and Xiaogang's film is a bit too realistic and like a documentary in comparison. Written at the end... These two films are both "moving" to me. Between "emotion" and "reason", they both show the characters' unreasonable but "reasonable" approach. Family affection is originally "give" greater than "get" It’s against human nature, and it’s already a great work to show such a reverse and unbalanced love with film language and lens. It's just that, when Dolan is only 25 years old, it is not easy to create, export and edit such excellent works as "Mommy" on the screen and get unanimous praise. I watched the movie quietly and patiently after being recommended by Lao Wang, and basically watched it in tears for the second hour. After finishing writing, I decided to pay attention to other works of Director Dolan this weekend. I look forward to more innovative works by Duolan and Director Feng in the future. Maggie Liu/Text
View more about Mommy reviews
