I have always said that the meaning of the film "Days on the Clouds" to me has always been watching people, not stories. Whether it is Antonioni's "Zoom" or "Eclipse", they are basically confused, especially the ending of "Eclipse", the long shot that has been praised repeatedly, panning up and down, panning far and near, but I almost collapsed when I watched it. - Just because I don't understand it at all. But this does not affect my love for his old man's films, and I still remember his "Night", for nothing else, I love Mastroianni and Jeanne Munro, they are both in "Night"; Similarly, Alain Delon in "Eclipse" smiled slightly at the heroine, and I almost lost my soul... No matter what the so-called "Days on the Cloud" was repeatedly criticized by many film critics because of its structure, shooting techniques and other reasons, I still Watching it again and again, I never get tired of it because I see their faces. Digress first here. Although the film "Days on the Clouds" is known as Antonioni's final work, the real executive director of many scenes is Wim Mendes, who filmed "Paris Texas" and "Under the Berlin Sky". that one. So the dazzling long shots in "Days on the Clouds" also have a home. Antonioni, plus Mendes, the movie's shots are so gorgeous that they can't wait to bloom. The outlines of the four stories were provided by Antonioni, and Mendes completed the specific shooting and the connection between the stories. Mendes, who is an admirer of Antonioni, has compiled his diaries during the filming period into a book called "Time with Antonioni". There are countless gossips in it, but I still recommend reading books for those who have the opportunity to read... Khan, Pull back. Of the four stories, my favorite is the fourth and the first. The third story is somewhat biased because of Fanny Ardan, and no matter how many times I have read it, I just don't like the second one, although I I don't know if this is because I don't like Sophie Marceau privately. It started with Kim-Rosstadt. The first time I watched "Days on the Clouds" I was amazed by his face. Although his first close-up appeared quite late, it didn't affect the effect of that close-up at all. I know the beauty of Italians, but it has always been the kind of beauty that appeared in ancient Rome and Renaissance sculptures. How can I know that when this gentleman came out, it completely subverted my aesthetic view of traditional Italian beauty. So he suddenly forgot the story that the old man was talking about, and went to watch him wholeheartedly. In "Time with Antonioni", Mendes mentioned that on the first day of shooting the first story, Antonioni did not take a close-up of Kim Rose's face, and Mendes was surprised at that time, I watched The book, although I already know that there are still many close-ups of him in the movie, but I still can't help complaining to Mendes - yes, how can I not take pictures, such a beauty, how can I not take close-ups. Of course, it was filmed later, but not in the long corridor of Ferrara where the two met, but in the hotel. So when I rewatched it, when his first close-up came out, I suddenly thought, for those who are watching these movies for the first time, when the close-up of his face finally comes out, will there be a kind of "this way?" The long wait was finally worth it," laughing. For me anyway, every time I get the first close-up of his face, I can't help but hold my breath, because he really has nothing to criticize about his face. He is also one of the few people who looks good in both still photos and moving images. I even think he is better in photos. There are a few photos in Mendes' book. They are all random photos of him in Antonioni or Gate. Des listened to them talking, because the eyes and eyebrows were well-defined, and the face was moving, not as good as the world, it made me completely stupid. He still acts too much... lol, I can't even imagine him wearing a priest's robe... This time, I paid special attention to the love scene between the two people, and found that his fingers were just empty and slippery. Over her body, if there is or not, it seems that there is something behind, and I don't know which one is not real. By the way, if anyone finds the heroine of the first story familiar, yes, she is a Lancome model. If I say the first story, I watch Brother Stadt, and in the second story, I ignore Sister Sophie Marceau, then for the third story, of course, I watch Fanny Aldan. Speaking of these European women, especially French women, sometimes I can't help but feel emotional. She is good, Deneuve is good, Huppert, Jeanne Monroe, let’s just count Adjani and Sophie Marceau, and those names that have flashed and are still flashing, I see them for decades The previous film, and the film from a few decades later, all feel beautiful, old, wrinkle can't hide, body shape is somewhat out of shape, but still beautiful, and facing aging, there is always a calm attitude. I happened to be talking about "Days on the Clouds" with my roommate at dinner today. She suddenly sighed and said that Julia Roberts' face under the movie camera has not changed for decades. nature. As I said at the beginning of the article, I watched "Days Above the Clouds" entirely for acquaintances. When I saw Fanny Ardan and Weller kissing through the glass, I finally saw the "Eclipse" of me. I couldn't help clapping my hands - this shot is exactly the same as the one in "Eclipse", it's just that the two people in "Eclipse" are in love with each other, and that layer of glass doesn't seem to exist; ", the same kiss, but like kissing his own reflection. The appearance of Jean-Reno has always been meaningless to me. The story of Loricon, "This Killer Is Not Too Cold" has a far less place in my heart than "Lolita", even though Natalie Portman is beautiful , but how did Jean-Renault get to Ayrons. What's more, there are so many big names in "Days on the Clouds", I was deeply influenced by the girl who seduced Weller. She was not very beautiful, but young and white like a porcelain doll. In the scene of fighting in the room, Weller tore her Clothes, her anger did not disappear, but she finally gradually compromised and surrendered, and the young skin folded with excellent texture under the soft light. Next, finally to Mastroianni and Jeanne Munro. Lol, I think I wrote so much up front just to wait until this moment... Ah, you ask me Sophie Marceau and Malkovich? I'm sorry, these two names are very familiar to me... In "Time with Antonioni", the part that made me jump the most is when Mendes said in the article that he filmed Mastroianni fishing and filming him Take the child to the church. At this time, the faces of Van Champerret and Irina Jacobs (that is, the hero and heroine of the fourth story) appeared in the frescoes of the church. They seemed to be the characters in the religious story. Mastroianni as a passerby. All in all, he shot a lot of Mastroianni and used him as a character. However, when Antonioni finally cut the film, it was almost completely cut. Mendes was upset, Mastroianni was furious, but Mr. An was surprisingly stubborn—I think maybe at that moment Mendez understood that no matter how hard he tried, no matter how hard he tried to stay close to An’s style, "On the Clouds" After all, it's Antonioni's film, not his own. He may have wanted to express something, but Antonioni, who was unable to speak, had a clear mind, he waved his hand and told him, cut it. Mendes finally compromised, and even Mastroianni chose to calm his temper, agreeing to only appear for a short period, rather than simply withdrawing. Maybe he thought of "Night" a few years ago. Years later, he and Jeanne Munro appeared together in Antonioni's film again, but at this time the director couldn't even speak. He was not the Italian man who brought a sweet life to the whole of Europe with a smile. Munro also has white hair like frost—— Oh, I'm not saying they're not beautiful, it's those few minutes of cameo where they stand together, gossiping at the drawing board, joking with each other, that's enough, that's enough. The silver-haired Jeanne Munro hugged the book and lay down on the sofa, telling Malkovich how to model the posture of the characters in Céchanne's paintings. At this time, Van Champéret passed through the hotel and went out in good spirits. , the fourth story begins. If I can forget that movie called "Tulips", I'd still like to say that Van Champerret is one of my favorite French men, how can I forget that in "Indochina" he walks in a white military uniform Before Deneuve, he said, Madame, please give me this picture. It was in the early 1990s. In the film, Deneuve was fascinated by this young man, and the little Vietnamese princess was also fascinated by him. She was willing to give up everything and travel thousands of miles. , he walked on the street with a cheerful charm, and he met the girl under the blue trench coat. He was shocked and pursued hard. She seemed to be tempted for a moment, but in the end, she said, I will be a nun tomorrow. . The already dark night became even darker. That can't be helped, because this time he met Irina Jacobs. In fact, the reason why I like the last one the most is because I think the fourth story is the one with the clearest structure and the best narrative skills. With countless excellent actors, it has always been somewhat chaotic themes. The chaotic theme of the three stories was pulled back at the last minute and sublimated. According to my understanding, the so-called day on the cloud should be when people meet by chance, like clouds, and then the wind comes, blows everything away, and it is a new day. No matter how perfect the picture under Antonioni's lens is, the pessimism in his bones will never change. What I saw in "Eclipse" and the concept I saw in "Days on the Clouds" is still there - you all Are lonely, will meet, but will not have each other, always separate. So, in the first story, the man finally left the woman he met, lost, met again, and finally lost; in the second story, the skin-to-skin kiss, telling secrets, was for the final farewell; the third Stories, betrayal, lies, sex, between men and women, it seems that they can be combined at will; the fourth story, the last panning mirror, the building is brightly lit, everyone is in their own room, doing their own No one will know or care about the matter. On such a night, someone tried to pursue a woman who told him that she would dedicate herself to God. No one is not alone.
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