The Program evaluation action

2022-10-18 14:25
The main problem with the film is that it spends almost all of its time on doping, and makes no mention of Armstrong's childhood, adolescence, or anything else that could analyze his character.  
A well-acted and well-narrated story about a man who, although he understands the big things, can't stop himself.  
Bonus points for the film's lack of an objective representation of mind-destroying sports.  
The most intriguing aspect of the film is its core material, the huge lie that has been blatantly around for a long time. But Freys's handling of the music can feel uncaring at times. This is particularly evident in the choice of several songs, such as Radiohead's "No Surprises," a vulnerable self-pity song that conveys Landis' frustration and isolation. This choice, like several other song choices, seems a little too obvious and just right. Only Leonard Cohen's "Everybody Knows," with its dark humor and bitter pessimism, finally captures the complexity of Armstrong's story, which is built on a fragile foundation of lies and absurdity.
The film is a true story of a series of events, but the narrative feels like it's going from bad to worse. Lack of tension, detail and psychoanalysis   .
The film adopts a semi-documentary narrative style, and the starring Ben Foster plays very hard, but his acting skills are a bit stretched in front of such a big man. The film's repackaging of the Armstrong character at the outset is commendable. Under the constant zooming and sharply changing angle of the lens, the audience sees a high-spirited young athlete, with the film's fiery tones, like a tempting energy drink advertisement   .
The film does not show what kind of childhood trauma the driver has suffered, what kind of personality he has, it can be said that he did not open his own cocoon, but was only responsible for peeling off the mud layer of the whole incident. What we see is that every time he feels oppressed by external forces, he makes "sufficient" protection for his own desires. The 70-year-old director Fowlers has witnessed the rise, illness, and re-emergence of the king of cars. He has bathed in the brilliant light of the famous yellow jersey, and has vivid memories of time. He also maintains the style of a typical British director, the whole film is extremely calm, the narrative is not lyrical, and it avoids any kind of deeper judgment. All conclusions and feelings are left to the audience to digest. Under the camera, there is a poetic sense of listing and direct presentation, but there is no emotional ups and downs. In the minimalist style, every deformation of the intersection is the prototype of life   .
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Extended Reading

The Program quotes

  • Floyd Landis: I want to confess... everything.

  • Floyd Landis: You sold the bikes to pay for drugs?

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