Anderson's films with spoilers
are mainstream in Hollywood and the focus of competition at major art film festivals. As the opening screening of this year's Cannes Film Festival, "Moonrise Kingdom" if not with Universal's factory logo, if there are no first-line stars such as Edward Norton, Bill Murray, Bruce Willis, etc., the blurred image of 16mm film will definitely make People think of bloody and violent B-movies. In an interview with SIGHT & SOUND, Wes Anderson admitted that his original intention was to tell a juvenile love drama-how two 12-year-old children fell hopelessly in love and talked about an earth-shattering love: "I think It's this emotion so strong that it almost makes this experience a fantastic epic - your world has been turned upside down because of this love. All kids want to see that upheaval, to see romantic dreams come true Really."
In "Moonrise Kingdom", 12-year-old Sam and Susy understand that the most romantic thing in the world is not being with the person you love forever, but being with the person you love to do whatever you want. So they have to run away from home, escape from their parents, instructors, other teenagers, escape from the authoritarian system of their parents, stay away from society, and create a new world for them independently.
My childhood was no less tragic than these two. Unfortunately, when I realized what I should pursue, I knew that I had completely failed in the matter of "running away from home". I have endured my parents who left me to work in other places, endured taking the opportunity to bully my relatives, endured verbal violence and physical abuse of teachers, endured the rogue classmates and scum around me, and grew up helplessly under the tyranny of society. Until one day, a friend of mine who used to be handsome and violent said, "I understand, I can't just beat those bastards now, others have already begun to hold grudges." I suddenly realized that I had already compromised with society - run away, just It means walking through the hungry ghost-like refugees at the train station with luggage, thinking about what will happen to a child who has been left alone, and inadvertently finds that he has turned to the door of the house.
I failed, but I knew why: I didn't meet the Soul Mate that I fled with. But even if I did find that one, it wouldn't be the same bloody, bloody, slashed (yes, B-movie!) romantic epic that Sam and Susy did. This film, with two young eccentric heroes as hero and heroine, is perhaps the most eye-catching, most stylized, and the most extreme in story structure and character design of all Wes Anderson films.
At the beginning of the film, the escape plan of the protagonist's two children was already in progress. Viewers, like many of the distracted adults in the film, investigate the disappearance of cadet Sam at the Boy Scouts camp. It turns out that Sam, whose parents are both deceased, has always been a troubled boy in the orphanage, falsely claiming to have participated in a Boy Scout training camp with the consent of his adoptive parents. Meanwhile, another storyline parallels how the pair of young lovers met on the set of The Church of Noah's Ark, and two people who also hated society fell in love at first sight - he liked her anger, she liked him Deep eyes stared at her. After a long period of secret correspondence and disclosure, an elopement was planned - the trip to the military camp was to get close to Susy's parents' villa on the island, and the two reunited and set off.
This "New Penzance" island off the northeastern coast of the United States provides a poetic setting for the duo's fantastical adventure. Sam, wearing a Boy Scout uniform, wearing raccoon fur and a shotgun, is obviously a geek of wild survival - and Susy, a literary young woman in a pink lady skirt, is shield-shaped jungle, trekking long distances between deep mountains and shallows. The first time they met, the communication between the two was strange and jerky, but the partnership between men and women in the middle of nowhere had an ancient and mythical purity.
In fact, the island is completely fictional. According to Wes Anderson, the island represented a village in New England in the 1960s. This kind of place no longer exists, but an uncle dressed like a Christmas elf appears many times in the film, introducing the island to you in the way of Jacques Cousteau's documentary, plus the retro-style painted map, which is very touching :
"New Penzance - 16 miles of island covered in maple leaves and conifers, punctuated by a shallow stream, that is the plane that delivers our mail; small dirt roads all over the island, and two ferry crossings a day to the opposite bay. The time is On September 15, 1965, we were at the easternmost point of the estuary, and the once-in-a-century storm would make landfall in three days."
Opposite to the poetic wild survival is the anxiety of many adults on the island. As the whereabouts of the two children gradually become clear, the relationship between adults is undercurrent. Between the susy parents, the security police of the male junior three, and the narcissistic Boy Scout instructor, the entanglement covered by adult society has all fermented and expanded under the crisis. During an island-wide search, the desperate couple encounter a scout troop who hate Sam. Soldiers met each other and experienced the baptism of bloody violence—a dog was killed by a bow and arrow, and a boy was stabbed by a knife. Only then did we know that the little scissors of young literary women were not just for handicraft.
This veritably outlawed couple finally arrives at the designed world of two: a small stretch of sand cradled between rocky cliffs - the most extreme date you can imagine: Sam and Susy tie each other affectionately. In the water, on shore, show off underwear, sketch, dance — Sussy says, "You can touch my boobs," pushing Sam's hands down on the vest, adding, "I think they'll grow longer." Then the virgin moaned and shed a few drops of happy blood - Sam's scarab earrings, made from fish hooks, pierced Susy's earlobe; she looked in the mirror and immediately asked for a second time on her left ear - what a good boyfriend is Earrings and piercings are delivered together. Is there anything more sensational than dedicating a liberated area in a small world that no one knows about, and being alone with a confidant?
But to be an epic romance, the two lovers must go through the ordeal that society has torn apart them. If Sam and Susy are truly a match made in heaven, the inhabitants of New Panzance and the monstrous forces of nature will test them and make their love a reality. And the reason why Sam and Susy succeeded is precisely because the value of this utopian pure love is well known. Its light is too strong to shine into the depressed hearts of those adults, reminding them that since they gave up hope for happiness, How long have I been alone, and how long have I not been with the person I love? It's the tangled grief of adults that makes Sam and Susy's reckless, reckless and rebellious quest so exciting.
Wes Anderson fans will especially notice that "Moonrise Kingdom" is full of artistic designs representing the 1960s in the United States, and even Susy's younger brothers seem to have come out of Norman Rockwell's illustrations.
Composer Benjamin Britton's "Classical Music Variations Explained" set the tone of the juvenile epic from the beginning. Mark Motherbaugh, who was the scorer of "Genius Family" after that, took over the torch of the master and carried the two with a strange and grand original sound. The journey of the teenage hero did not finally complete the tribute to Britten until the end credits, and I believe Anderson fans will be delighted.
The film is rated PG-13 in the United States, the same as "The Dark Knight," "Pirates of the Caribbean," and "Jurassic Park," a runaway story that is unmistakably violent in Wes Anderson's world. Don't forget that Margaret Trenbaum in "The Genius" was the one who had her ring finger chopped off during the escape. Perhaps Susy in "Moonrise Kingdom" inherited the dream that Margaret could not achieve.
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