After reading "Good Will Hunting" in class, I was very infected. Below I will start my review of the film from a prototype perspective.
The basic connotation of self-acceptance. Will has a legendary talent and a tragic childhood. Two discoverers, a girl, a few close friends - that's the basic situation of a boy in his 20s. Each of the above parts has a similar symbolic meaning. The early experiences of ordinary people may not be so dark and tragic, but everyone has gray memories; ordinary people generally do not have legendary talents, but everyone has more or less comparisons with those around them. Advantage. This may be the source of the film's appeal. Two discoverers symbolize the elders in life, kind teachers and guides; a girl symbolizes the love in the heart, and several close friends are best friends who talk about everything.
The basic situation of human beings is roughly the same, and it is a constant existence that transcends races and cultures (at least on the earth after entering a civilized society). In the film, it is expanded in a typical and idealized form, and treated in a dramatic way. There are deletions and deletions, additions and additions, expansions and contractions, complex and simple. For example, making the protagonist's childhood extremely tragic, making his talents extremely prominent, for example, making the two discoverers have a layer of subtle stories, and both of them will never leave Will, follow the guidance, understand and trust. Another example is to treat a girl as a pure and warm rich girl, and treat a friend as a buddy, but it is a sincere, sincere, and generally knowledgeable best friend.
With these artistic treatments of the basic situation, several archetypal small structures like this emerge: "two years old friends with a delicate relationship", "the self-closing and self-opening of a widower who is loyal to love", "the poor and the poor". A short-lived relationship between a boy and a rich girl"; "A friend's sacrifice and gain"...Several small structures serve a large main structure "The self-face and self-reconciliation of a genius boy who has experienced shadows, rebuilding his cognition of the world and set off again."
All the soul-stirring contradictions and conflicts end in the last symbolic lens (or picture): in the vast world, a car, a person, and a long road. Very interesting ending. Just pursuing, just starting, just on the way. Will Will finally be able to build his career? Will he win his love? We don't know. But I think what the director conveys is a kind of optimism in loneliness, calmness and progress in the unknown, courage and hope.
After talking about the same, let’s talk about the difference. "Different" is the way of presentation, the presentation of form. The theme of "self-discovery, self-reconciliation, self-identity and self-seeking" is reflected in art forms such as drama, poetry, painting, music, and more. The myth of eternal life, and such stories in legends can be seen everywhere. It is discussed here only in film form.
Take the Hollywood magic epic "The Lord of the Rings" and the Indian youth film "Three Silly Bollywood" as examples to make a comparison in time and space respectively.
In "The Lord of the Rings", Aragorn was originally a descendant of the royal family, but he lost confidence in the clan, and wandered in the elf kingdom as a ranger. In the process of destroying the Lord of the Rings, we fought together with the protagonist group to fight against the evil forces, and finally completed self-discovery and self-commitment in the journey and battle. Finally, the king returns, ushering in a new era in Middle-earth ("The Lord of the Rings" is all-encompassing, only taking the story of Aragorn as a contrast). In "Three Silly", Fahan and Lazhu overcome their fear of the future with the help of the male protagonist Lanche, get out of the shadow of poverty and anxiety, and finally get their ideal jobs and gain a foothold in society.
Both movies are classics, I believe most people have seen them.
Will's comparison of Aragon is a comparison of ancient and modern under the same cultural system. To express their love, Aragorn and the elf princess use extremely noble and subtle ways: sad love songs, lovesickness for tokens, even after meeting each other, they end up looking at each other affectionately. The former uses bed scenes directly. To express the revelation of the elders, poetic code words, ritual sword casting, epiphany, and various salutes are used. The former is a humorous and humorous adjustment to deepen the love story. To express friendship, "The Lord of the Rings" uses a natural and borrowed tone, and the deep love "I can not carry it for you, but I can carry you" makes people cry. The former uses various "F-words" and "Cult-Language", using various color-coded slang words. More smoking, drinking, fighting and so on.
All in all, "The Lord of the Rings" uses the classical language vocabulary of the nobility, and "Good Will Hunting" uses the slang modern language vocabulary. The basic circumstances are the same, but the expressions are thousands of miles apart. Another point is that "Heart" has a much faster narrative pace than "Finger".
Will Bilancher is a contemporary comparison under different cultural systems. To express love, the latter uses a program with a stage play style, singing and dancing, and exaggerated but basically self-justifying stories in the plot system. Shows the revelation of the elders, who use exaggerated contrast and tear-jerking sensationalism. To express friendship, the latter uses the singing and dancing youth under the common ideal, and the mutual help between brothers and sisters... All in all, Bollywood's "Three Silly" has always been immersed in the narrative and rendering from ancient Indian Sanskrit opera tradition to modern song and dance In the big framework of the drama program, the national characteristics and internal scale are not lost in the narrative that is in line with the world (obviously, the biggest gender scale presented by Indians in the film also ends with kissing).
The "program" of Bollywood films pointed out in the previous paragraph does not have any sentimental praise or criticism. In fact, the "stylization" of Hollywood movies is not necessarily any better than Bollywood. Another name for a program is also called a "feature". And what is really touching is the little bit of "program" that is not so "programmed" in this "program", the sincerity that directly hits people's hearts.
There is another very interesting issue that needs to be listed in a separate paragraph: the biggest difference between works and works is often not the storyline and structure of the main body and the protagonist. It is the cutscenes that exist in the background, the cultural background and the realistic background. In "Soul Hunter", fighting and fighting with MM, smoking, drinking and swearing, sexual openness and promiscuity are embedded in the entire story structure as background existences, which basically acquiesce to the above existences. In fact, this part of the existence is the most gimmick and worth thinking and vigilance. The devil hides in the details, and the master moves in the quiet place. Is the real MIT area really like this? Doubtful.
Mr. Fei Xiaotong said: "Every beauty is beautiful, the beauty of beauty, beauty and beauty together, the world is one." In my opinion, criticism and praise are one, and it is only when we have our own standpoint after independent thinking that we can say "beauty and beauty go together". Otherwise, it will be peacefully evolved into another cultural system without distinction between beauty and ugliness.
May Chinese films find their own way as soon as possible. Don't be afraid to slow down, just don't be led into the ditch.
PS: The film review was written at the end of 2011 and is the final paper of the elective course "Film Appreciation". According to the teacher, I was given the highest grade. I asked, and I replied: You are the only one who has not "learned" from the Internet...
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