I thought my life was a tragedy. But now I realize it was a comedy
Listen, thank you for turning Sandman down
In a special promotional video for The Sandman, Netflix featured Martin as an interview guest who spent half an hour talking to Neil Gaiman. It's fascinating to watch two cool old men talk to each other: they have the same understanding, they can relate to each other, Martin gets to the point, Gaiman gets to the point. That's because their relationship dates back to 1987, when Gaiman, then a young man, was thrown cold water by Martin over Sandman.
About the despair of the bottom and Camus's absurdism
The film opens with a quote from Camus: "And never have I felt so deeply at one And the same time so detached from myself And so present in the world." It works like a teacher giving a direction to answer questions before reading comprehension, suggesting the best way for us to understand the hero.
Morricone, wide as the sea
Giuseppe Tornatore photographed Ennio Morricone with the reverence of a well-cared for junior for his grandmaster. "Ennio: The Maestro," a 150-minute documentary, features tornatore's lengthy interviews with Morricone and film clips, interspersed with people's memories and opinions about him. The editing is good, with multiple conversations tied into tight dialogues by invisible ropes, and The humming of Morricone and the directors morphing into old movie scenes. The last half-hour was a dog's tail, with Oscar's recognition of the aged Morricone's lifetime achievement and Quentin Tarantino's rave praise for him (more than Mozart or Beethoven) having the air of a final verdict. Anyone who has watched several of Morricone's 500 films, or watched the first two hours of the documentary, will agree that the last half hour is superfluous. And while recognition brings joy to the master, and perhaps tears, no more than he does when he's composing, or even when he's exercising slowly at the beginning of the film.
Frank's silence and the sound of waiting to be found
Since the film reminded me of the introduction I had seen about underground punk bands in Eastern Europe in the 1970s and 1980s, I went to search for relevant materials. I did not find the article IN my mind, but I found something else that might help me better understand some cultural phenomena mentioned in the film. The first was an article titled "Slavic,East European,and Eurasian Punk Alternative Publications:Challenges to Fugitive Materials," Written by Adams Kevin. Its focus is less on punk history itself and more on the collection and collation of relevant fugitive materials. These materials include but are not limited to manuscripts, posters, illegally distributed music tapes (as filmed in the film, for example, at the beginning, the band pasted live performance posters in the streets, and Frank secretly stuffed his own recorded music tapes into his sewn clothes for his friends to find a way to take them out) and underground music magazines. Because these works were often illegal or subject to severe distribution restrictions (Roksi, the first widespread pop rock magazine in the Soviet Union, for example, issued only six copies of each of the first three issues of the Soviet Press Law), it is difficult to find a fully preserved collection in official databases. Frank's "political psychosis" is also, to some extent, a metaphor for the reality of the underground artists of that era in the film, who are forced to stop speaking, their silence is purged, erased, and then completely lost their voice when it's all over. Whether or not these lost voices can be recovered, the howling of pain that they have missed, depends at this stage of history more on whether we listeners can recover them from those fragmentary memories.
The birth and white-hot of tragedy
White heat is shown in this film: the searing steam of trains, the teargas of factory confrontations that confuses everything, and finally the flames of a refinery explosion. All kinds of expressive pictures correspond to psychoanalytic factors of a psychological category -- Cody's Oedipus complex and the great anxiety of schizophrenia. The film is eclectic in genre: prison break, gangster and undercover, with a hyper-efficient narrative, a high-powered pace and, ultimately, a fire like a ball can exploding in a refinery.
A stylized image of Parma
"People always talk about Hitchcock, who was very influential, but I find that not many people follow the Hitchcock genre, except me. He created these incredible narratives, and they all died with him. And I'm a practitioner, picking up what he started and building it into new forms, in my own evolving style, which is like a modern version of what he created." As the most loyal follower and promoter of Hitchcock, it would be too much to underestimate the innovation and pioneering of The film language of Parma if he only regarded as a disciple of Hitchcock.
The political spectre of Ecomcon
The result of this seven-day political game is Lancaster's four-star general Scott bitterly defeated. Under the absolute majesty of the constitution symbolized by president Martin, his fervently saving the country had to give up and watched the president disband his secret organization at the press conference. Getting into the car, the driver asked, where is the general going? The Admiral thought for a moment -- go home.
For all those whose brains died before their hearts
Yellow images of the past corrode their fading, messy lives, and as Francoise Lebrun's old woman awakens, slightly frightened and distracted, the entire expanse is slowly and gradually cut off, her hand on her husband's shoulder withdrawn in an unstoppable and doomed isolation. The aggressive black lines corrode the living space of the two elderly people from top to bottom. At the moment when the screen was separated, the old woman closed her eyes, and the cold line separated her from her husband's world cruelly and helplessly. From then on, the two old people would live, struggle and be helpless in their own single screen space.