- Mud Tribute: Italian film master Antonioni
doesn't have much to say about "Days on the Clouds", the work of director Michelangelo. The consistent philosophical appearance drives the audience's entertainment mentality. Movies are not just entertainment, not just art.
But the paradox is that most of the audience walked out of the theater with a blank face and didn't know what it was. Perhaps it is more of the audience's instinct to evade thinking, because he is not a Hollywood-style explanation that is afraid that the audience will not understand the movie, regardless of the director, screenwriter, photography, music and other elements are all around a theme story. When you go out to the cinema, the audience understands it, but also forgets it after seeing it. Time is thus collectively dissipated. But "Days on the Clouds" is not the case. The lingering sound forces the audience to think about and reflect on their current state, but the powerful reality wall does not allow the audience to reflect. The more the director tries to expose the absurdity of reality itself, the closer it is to it. As it is, the greater the reaction force of reality, the more painful it will be for the audience. And the director Michelangelo's is quite a coincidence, at least his slow, long tragic narrative, sad pictures, ambiguous and warm music to relieve the audience's tense nerves. Grandpa 'M' is really kind. Otherwise, how could you leave so peacefully.
"Days on the Clouds" is composed of four short stories, which are both self-written, self-directed, and self-acted. Director Michelangelo, who was largely speechless at the time, did so through the direct intervention of his wife and one of the exponents of German new cinema, Wenders. Imagine Michelangelo on his hospital bed. Antonioni's philosophical thinking on the propositions of passion, life, death, etc., is beyond the reach of the young mud in terms of depth and breadth. Naturally, Grandpa Antonioni's lectures are a little jumpy and a little omitted, but the video display is still smooth and beautiful. The encounter between the pair of women in the small town of Fenara under the fog, or the rash confession of the father-killing woman in the warm little shop in the humid seaside town, or the warm chapel overlooking the Champs-Elysees. They are all paved with erotic scenes in a touch of sentimentality, so that the audience brings an aesthetic face to peep at their own desires projected on the screen. The self-criticism of those so-called morals is subtly avoided. This is the greatness of Michelangelo's grandfather, the beauty of the master's being a master.
In addition to these sad and beautiful images, there are also co-stars of European superstars such as Sophie Marceau, John Malkovich, Vincent Perret, and Jean Reno, and films by big-name musicians such as u2 and air. original sound.... The philosophical aspect of these ultimate propositions is even more beautiful and light, and the expression of the entertainment function of the film is not inferior to those of Hollywood box office dealers. A sign of the prize.
Postscript:
On July 30, 2007, this black day, Grandpa 'Mi' peacefully entered the unknown space on the reclining chair. At the same time, the Swedish director Bo Lao (Bergman) also completed his perception, and was unknown at the same time. see you. And the old man Wen Xingyu of "I Love My Family" died because of lung cancer. Who can give a path to the mud in such blackness and make my breathing clear. Survive above the clouds.
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