Any director who trusts in special effects and images as a substitute for storytelling is only equipped with MTV and commercials. The director of "Elizabeth: The Golden Age" falls into this category.
The entire film is an elongated MTV narrative poem, which relies on music to forcibly glue parallel storylines that are not involved in logic and emotion, but it does not give strong story clues in characterization and plot logic. Every character can only express his thoughts and emotions through stage-drama dialogue or artificial modeling and gestures-Milos Foreman said when he adapted the stage play "Mozart" into the script: "Symbolism and Photography is incompatible. Stage drama can be symbolic and exaggerated, but film is the art of photography and requires truth." The director of "Golden", who was born in an Indian musical, has no idea what the central principle of Western film history is, so that Elizabeth's clothes that are not sexy or luxurious enough are changed one by one, and the audience must think of Elizabeth as India. Actress beckoned. Although Wong Kar-wai's "In the Mood for Love" did the same, the cheongsam is more subtle after all, and at the same time it also has the role of telling time in that story. As a result, "Golden" is everywhere generous and exaggerated, and lacks the most basic "truth" of historical dramas.
Almost all actors have become second-rate puppets under the direction of this director, but Geoffrey Rush has maintained a gentle and calm image, which has saved a little dignity for the film.
Considering the plot, the film initially tried to create suspense by explaining the conspiracy inside and outside the Queen's court, and to play up the atmosphere of the coming crisis, but it was extremely unsuccessful. Three clues: Philips II of Spain, Queen Mary, and Jesuit assassination members cannot be "dangerous people with a purpose to be explained"-a comparison of a classic: the establishment of computer agents in The Matrix at the very beginning Their invincible images without revealing their ultimate motives, this kind of "dangerous purpose to be explained" villain can make the audience feel threatened and worried about the protagonist's fate, thereby inspiring the desire to watch. If the audience was shown the Spanish navy's brave battle at sea, the cruel actions of Queen Mary caused by jealousy (rather than sitting there cruelly), or adding the description that the authorities would be helpless and threaten at any time, then Elizabeth There is no need to rely on an astrologer to render the fate at stake.
Then there is a love triangle with heads and tails. Maybe the audience, like Sir Raeley, is not used to Elizabeth's neurotic temper. They don't know what this old maiden wants (no motivation, no difficulties), and what obstacles does she have that affect her to get this love. , And how she recovered from her sorrow in the end, there is no clear explanation, but we have no direction to guess-this is the main line of the story.
The climax of the story, the famous naval battles between Britain and Spain, determines the historical turning point of today's world. It is in these three or four montages that they have been mtvized with background music. I think it’s an extended trailer. It seems that Britain's victory was due to a few Queen's slogans and the fire tactics of a few generals. Such a romantic portrayal, historians all over the world would not spare him. For the materialist historian, to attribute the victory of the war to personal emotions rather than to the level of science and technology, the advanced level of social organization is a perceptual and naive understanding of the world, ignoring rational voices, superficial and vulgar and ignorant.
It's not worth watching at all, and it also uses this to alarm all filmmakers who are attacking visual performance-whether it is CG, photography or art, all wake up. The story of "The Lord of the Rings" is a classic that has experienced 70 years. It was successful, not because the computer drew a few villains.
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