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Bonnie and Clyde (1967)
A portrait of disillusionment in American mythology
Far more than the historical value as a staple of new Hollywood, and has a wider aesthetic and social value: bonnie and Clyde the two men is not invariable, of course it is not only a small clay virtue incompetent metaphor, but two people from meet to have died quite exquisite abound administrative levels in the process of psychological change: Excited (ignorance)/plotters, understanding/fear, looking forward to/numbness, loss/frustrated and hopeless/regret, one up one down, two parabolic legislation is the final one, and table to the great depression metaphor 60 s split personality type of social mental state in the United States, actually gives the film the profound meaning of sociology and psychology. However, the most important thing is that this film achieves a complete rebellion of content and theme under the premise of relatively traditional shooting methods, which is obviously different from Easy Rider, which only stays in the form of fancy, and lays a profound and solid foundation for the new Hollywood in the spiritual level in a very reflective and enlightening way.
Nóz w wodzie (1962)
Polanski's pinnacle
Terrorist! Completely crushed the repulsion of blame the tenant in the future, one-way projection also beyond "rosemary's baby" as sheer level of multidirectional feedback, but really go deep into the two men and a woman's emotional domain, in the confined space of symbolization, by three people seemingly opposite symbiotic relationship of relaxation is tight, knife as a signifier McGonagall Finn by water, The dramatic conflicts on the surface are diluted and replaced by the release of hidden desire. The power game of gazing is hidden under the quiet water, and even the final outbreak is just a profound compromise. The sailboat has been calm after the storm, but only deeper despair can be left. Polanski almost completely follow three are on one hand, on the other hand, beyond the actual naturalism, cool the depth of bone marrow has made a simple narrative mythological archetype, polyphonic gaze, a prototype of the concept of ideological criticism, and many other, already is not only irony, the middle class and completely become a masterpiece full of interactivity of structuralism. Far from a mediocre debut, the film is a masterly masterpiece: The knife in the water disappears, the wind blows in the woods.
Rosetta (1999)
Poverty at Absolute Zero
Calm, objective, just right, complete display and presentation, thoroughly to describe, to dramatize; But at the same time there is understanding in full presentation, compassion in full empathy, natural warmth in absolute zero, beyond the cold and trivial mold of naturalism. Rosetta is a poor person who does not want to be poor. She refuses to be decadent, but betrays it. She worked hard, but she felt guilty: What was the difference between me and the mother who sacrificed her dignity to survive? Desperate to die, but poor enough to have gas. Poverty makes Rosetta survival not, beg dead can not, she finally could not suppress tears, but in the end still looked at her boyfriend and the other a poor man - lives, and to treat the life attitude of life, suffering life bitter and desolate, human nature of struggle and bright, is not it refused to lyric, "absolute zero" camera?
Playtime (1967)
The miracle of contemporary comedy
In form, the use of space is exquisite and unsurpassed, the group play scheduling reaches the peak, the lens language is flowing and flowing, and the situation is completely perfected. In terms of content, the satire of middle society and modern life is extremely wonderful, profound and not mean, full of fun and full of fun; In terms of style, space rules everything, space is the absolute protagonist, and it is in the transcendental space that time gets its real flow. Thus, the film presents a very rare view of absolute time and space, and reaches the peak of comic ideography. I saw my first Jacketti, and it was the highest point of comedy in my current experience, after Keaton.
Roma ore 11 (1952)
Breadth of Italian Cinema
There are many films that represent the depth of Italian neorealism. "The Bicycle Thief," "German Year Zero," and even "Nights in Cablia" are all great works that are close to each other. And yet the perfect film to represent the breadth of neorealism, even the breadth of realism, is probably the only one, the heartbreaking Roman Eleven.
The Man Who Shot Liberty Valance (1962)
Great Irony
The first deconstruction is the nominal replacement of violent power by law. Violence in the name of law to exercise power, violence is effective against order, law to build order is weak hypocrisy, is the second deconstruction; The law itself is weak and ridiculous. Only the law of the violent is worthy of being trusted. The law is in essence to be laughed at, which is the third deconstruction. On behalf of the law of the non-doer steal violent hero fruit and become a hero, and represent the public opinion of news reporters together to conceal the truth, violence in the cloak of reality justice, false/symbol of civilization in the construction to establish justice, human civilization and history based on the pride of the dislocation of justice, is the fourth layer of deconstruction for the final.
The FILM HAS GONE BEYOND A SIMPLE "ANTI-WESTERN" TO MOCK THE fundamental CONSTRUCTION OF EXISTING civilization VALUES IN THE shell OF AN anti-GENRE FILM, AND IT HAS REACHED A HEIGHT OF IRONY THAT John FORD may NOT have ANTICIPATED.