7. The core awards sweeping awards season, but I've been cheated so many times that it doesn't mean anything to me. La La Land is nothing more than a tribute to the classics, talking about dreams, telling a third-rate story with first-rate music and colors, second-rate performances and editing, and doing a few fourth-rate dances by the way - it's not that I don't like Emma Stone and Ryan Gosling, but their dance moves are really average, and the male lead's acting skills don't have much room for play in this movie. Ordinary people like it because they empathize with it and pin their yearning for dreams and love; film critics have received rave reviews because they saw the movie fantasies in it and cherished the era when musical films were popular. To put it bluntly, it's just showing off some complex, but it's too pure, too direct, and too uncharacteristic. Some people think that it is normal to never get tired of reading it, just like an inspirational article on WeChat, no matter how clichéd it is, someone will still like it. In my opinion, a good movie should tell something unique, or make a cliché story brilliantly, and a well-known phenomenon to the core. The story structure of La La Land has bid farewell to the neat category of general feature films, and belongs to the inexplicable level of plot promotion. Encounter, fall in love, quarrel, chase dreams, meet unexpectedly after becoming famous, look at each other and smile, and the film ends. After watching it for about 10 minutes, the audience basically knows the whole plot, so no one cares about the rigid connection between the plots and the lack of transition-because even if it does transition, you have seen those cliché plots thousands of times, and don't care about them. No difference. The monotony and symbolization of the characters also makes the film's lack of depth worse. It is true that from the perspective of love, the heroine who has repeatedly failed in the field of performance and the man who is full of enthusiasm for jazz have excellent similarities, and even the same firmness and stubbornness. The admiration and encouragement of a man makes a sweet story; but what else? I can't see their other personalities, so it's impossible to talk about whether they are suitable for each other, and there is no room for these two characters to be explored. They are just the epitome of the masked people in the dream-seeking crowd. As for the wonderful shooting aspect, I think the director did half of it. From a color and photography standpoint, it's impeccable. However, after watching Tetsuya Nakajima's works, there are very few movies whose colors make me stunned. On the whole, La La Land has indeed created a sense of beauty in the scenery, moving mirrors, and special effects, but after all, it is a tribute to the film that can be seen everywhere, and some of the so-called ideas have been used by others. In the end, the fantasy with various tricks is talked about by many people, but it is more like a slideshow with a sense of beauty. This kind of scene with a strong sense of design is far less than that of Emmanuel Lubezki, Roger Deakins, and Du Kefeng. The real scenes captured by these gold medal photographers are even more pleasing to the eye. Some people say that it is great because it uses images to create dreams, but I think that every frame of Ang Lee's "Fantasy Drifting of Pi" can be used as a screen saver, and the seamless connection of Inaritu's "Birdman". In the mirror, the tone of Wes Anderson's "The Grand Budapest Hotel" is as beautiful as oil painting, the plot of Quentin Dufy's "Real" is completely beyond the logic of reality, and the setting of Jiang Wen's "One Step Away" replaces the rational with emotion. , David Cronenberg's "Sensory Game" that uses real flesh to represent hardware items, and David Lynch's "Monster Night Panic" that uses dreams to illustrate realistic psychology is called dreaming with images, just put a few good-looking The screen doesn't matter. As for the so-called alternation of reality and reality at the end that moved the audience the most, although it conveys a sentimental sentiment, it is also a common trick in romance films. Compared with the "500 Days with Summer", the expected and reality split-screen scenes are more impressive. Unlike some people who have no feelings or no longer believe in dreams, I actually appreciate the male protagonist's feelings for jazz, because rap means the same to me. He said that Jazz is dying, and Nas said that Hip Hop is fucking dead; he has to change the traditional Jazz to make a living today when electronic music and pop music dominate the market, and the hardcore rap of Old School, which I love, is also It is difficult to survive in the world of Trap and electronic rap. But under the premise of resonance, the mediocrity of the story must be acknowledged as mediocrity. It can be said that the City of Philharmonic is just a super-long music video mixed with strong film feelings and jazz feelings, and the lack of goodness in the plot makes it only a high-quality song and dance film after all, rather than an outstanding film. Don't tell me it's on the verge of winning an Oscar, the historically mediocre Oscar best picture abounds. I am very opposed to some people who say that the routines of musicals are limited to this. The Indian movie "Three Silly Makes a Big Bang in Bollywood", the Danish director Lars Von Trier's "Dancer in the Darkness", the Japanese director Tetsuya Nakajima "The Life of the Disgusted Matsuko", these well-known musicals and dances in the film history have wonderful and profound scripts, who has limited the number of songs and dances to tell the story? Does the story of your life fall apart after you sing to the car stereo on the road and dance in front of the mirror at home? not at all. However, the plot of the City of Philharmonic did end in a hurry after singing a few good songs and playing a few wonderful pieces of music.
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