Rome, Sorrentino and others

Russel 2021-12-18 08:01:12

I scribbled when I was young. Not worth seeing

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A beautiful city, it is interesting, smart, and beautiful, and it naturally approaches [infinite beauty]. From the perspective of beauty, it is almost reaching an unimaginable height; it cannot fail. It is the crystallization of the genius Sorrentino, Italian national treasure photographer Luca Bigazzi, and a budget of over 9 million euros. But Italians also say that this is a film made by Sorrentino for foreigners, joking that it is not beautiful, it is "the ugly city": "La Grande Bruttezza" (The Great Ugliness). I think: The degree of preference for this film depends in part on whether you know Rome; I have been to Rome, but it makes me tired, and I don’t understand it enough. Therefore, I envy the half-knowledge but great Rome presented in the film, and I embrace it. But if you know Rome enough, or if you think this is not the only Rome in your heart, lunch is another matter. (1) Rome Rome has a large depth of field, but it is still incomprehensible. The reason is that, in comparison with Paris, Paris sees the big from the small, it's "she", who walks, lingers in the maze of trivial threads, and devotes himself to the exquisite enlightenment of modernity. The iron tower, the Louvre, the lingering trails of Marais, and the flat Ottoman opera house are familiar with nesting hearts and eyes, and they express their opinions. But Rome is big, the glory and the ruins are big, too big to be worthy of oneself, and it chokes on the little thoughts that dare not make trouble. I won’t talk about Woody Allen’s Rome for the time being. This is Woody Allen, not Rome; but the way is: I smile at Paris with a glimpse of Paris, and I will be criticized for Rome, like a film. I also want to save Rome, because its contemporariness is so embarrassing, and it collides with the bold words of history. It is obviously contemporary, but it is out of date and presents an imbalance of time and space. ——So I doubt the contemporary elements that Solottino put in the film. Even the Romans say that Rome is not like this, and there is no such kind of Rome. I said to Joe, take me back to Rome. He said: Yes, at least one week. Be in Rome with someone who knows Rome. Rome's prominence and concealment are deep. The first time I went to Rome, I was "eaten". Combined with the film, it also lacked the cultivation of tourists. Let’s take a look at a criticism of the film by the Italians: For example, next to the Colosseum, they all know that the real estate belongs to the public, the government, and it is impossible to be justified by Jep. Gamberdella is reclaimed and used; there are so many characteristic characters in the film, but there really is no such thing as a man who is equal to Rome and lives like this. It is ambition to use wide-angle language and grandeur to build a city, and it is mostly thankless, but one of the most taboos for urbanites is falsehood. This kind of falsehood lies not only in the simple manifestation of the fact that it does not exist, but also in the lack of introspective connection. For example, there do exist nobles who show off to their friends because they can rent out the family. The Romans know it, but if this manifestation is only a director Accidental selection, but lack of internal connection with other elements and a certain understanding of the heart, then for the people in the city, this kind of display is still false and meaningless. However, these tourists are obviously unclear, and the difference in viewing movies caused by this ignorance is also obvious. (2) There is a character in Sorrentino's film. When Jep Gambardella and Romena were dating on the mountain at night, he opened the door of the museum that could not be opened, and possessed the golden key ring that unlocked all the heart of Rome. ——This person is like an incarnation of Sorottino. The Italian said, “This is a delirium after he has boundless rights” to show how he uses his rights to open and close to the public. door. In addition, Solottino's imitation/tribute to Fellini in the film is surprising: the element of love is ignored, the element of religion and the circus, and the paradoxical and surprising combination of the two, and then no owner. The plot and the simple linear time narrative structure are exactly the same as Fellini, nothing more than people say it is like "Fellini possessed." However, in addition to the elaboration and promotion of his photography, other comparisons are mostly criticized: Some people in Italian online reviews said that "Quentin draws inspiration from B-level films and absorbs elements to produce first-class violent aesthetic films; Sorrentino follows from Extracting masterpieces (such as Fellini), but finally making a second-rate film." It is not entirely unreasonable. As the associate director and screenwriter of "Rome, the Undefended City", Fellini received widespread praise for "Sweet Life" and "Roman Style Painting", which tied the names of Fellini and Rome together. , Because he understands Rome, but in this film, if we admit that its inner wide-angle is its presenter-Jep in the film Gamberdella’s perspective is limited, that is, his temperament and the composition of his self-confessed meaningless life. It must also be admitted that, in this situation, this “superficiality” is also to the presenter-Sauron. A concrete manifestation of corruption and self-limitation implied and projected by Tino. The word "superficial" is interesting because it is received from Italians. Because it is the Italians themselves who are arguing and claiming the "superficiality" of Solottino. First of all, this kind of condemnation exposes a mentality of hatred for the common problem of centralized power display, but this is normal. Just like we treated Zhang Yimou and his "Hero", after the director became famous, this kind of behavior will also appear. Works; but another point of this condemnation is based on the ambivalence of Europeans, that is, "superficiality" has a hatred of "centralization and superficiality": a coexistence of "superficiality" and personal reach. The basic fact that there is no "superficial centralization of power" disrupts this emotional psychology. To tell a very simple story, before going to the theater to watch this film, Joe once refused to watch it on the grounds that "Sorrotino has invaded the resources and opportunities of young artists." For the production of this film, Sorottino cost nearly 10 million euros. For his first feature film, his budget was only 200,000. It is hard to see the end, but it is still extremely difficult. The agent said, "This script has the best story, the best characters, dialogue, and humor. I can't believe that I can't find a producer to invest in. I gave up. I will look for another month. This is the deadline. If there are no more results, I will go to New Zealand, because it shows that this country has no hope, and no one is even interested in such a book, indicating that the film industry has fallen.” So, from an economic and psychological point of view, I’m afraid They will also have objections to this film, "If I had the same funds, I wouldn't just make a Roman style film that was printed on postcards from the Tourism Bureau and just showed my rights." Of course, if you really meet Sorrentino, "Of course I will show my respect, and of course I will shake hands with him respectfully." After all, "Sorrentino has everything I want to have." (3) Cast and other issues Sabrina Ferilli and Isabella Ferrari who play Ramona and Orietta are both sexes of the previous generation icon. The former’s nude posters spread all over the walls of teenagers, while the latter has surprisingly beautiful beauty to this day. (But Ferrari also confessed that the collaboration with Sorrentino was not a pleasant experience. He no longer focused on actors, nor did he discuss plots or chat with them. The first thing he said to her was to talk about setting her up The dissatisfaction with the hairstyle is direct and impolite, so she had to use a wig to make the film according to his preferences.) In addition to the director Toni Servillo, a well-known Italian actor, director and screenwriter Carlo Verdone , There are also various personalities/popular actors/celebrities joining. It is simply a big collection of power, money, and celebrities. It is really not good and difficult. I won't repeat them here. This is a "problematic" movie (problematic), but watching a questionable movie is often more useful to learn from to generate thoughts, to start from its problem, to raise new questions, or to solve both of the above. I have not been able to give a single-voice answer to a few questions that arise when watching "The Beautiful City". I will record it here first, and then expand, adjust and prove it in the future: 1 One is not The movies that the “insiders” and “inside the walls” identify with (in this case are Romans, or Italians in a broad sense), but are acclaimed by foreigners, outsiders, and internationally, that is, in understanding and A film that is subject to prescient differences in empirical theory, should it be better and decisively appreciated, viewed and reviewed? 2 Discussion on Fellini-style writing and scripts. 3 Rome and contemporary times-in the end, Joe and I both decided to go and see it again. It is so beautiful because it throws away all the things mentioned above. Verdone, as well as the joining of various personalities/popular actors/celebrities, is simply a big collection of power, money, and celebrities. It is really not good and difficult. I won't repeat them here. This is a "problematic" movie (problematic), but watching a questionable movie is often more useful to learn from to generate thoughts, to start from its problem, to raise new questions, or to solve both of the above. I have not been able to give a single-voice answer to a few questions that arise when watching "The Beautiful City". I will record it here first, and then expand, adjust and prove it in the future: 1 One is not The movies that the "insiders" and "inside the walls" identify with (in this case are Romans, or Italians in a broad sense), but are acclaimed by foreigners, outsiders, and internationally, that is, in understanding and A film that is subject to prescient differences in empirical theory, should it be better and decisively appreciated, viewed and reviewed? 2 Discussion on Fellini-style writing and scripts. 3 Rome and contemporary times-in the end, Joe and I both decided to go and see it again. It is so beautiful because it throws away all the things mentioned above. Verdone, there are also various personalities/popular actors/celebrities joining, it is a big collection of power, money, and celebrities. It is really not good and difficult. I won't repeat them here. This is a "problematic" movie (problematic), but watching a questionable movie is often more useful to learn from to generate thoughts, to start from its problem, to raise new questions, or to solve both of the above. I have not been able to give a single-voice answer to a few questions that arise when watching "A Beautiful City". I will record it here first, and then expand, adjust and prove it in the future: 1 One is not The movies that the “insiders” and “inside the walls” identify with (in this case are Romans, or Italians in a broad sense), but are acclaimed by foreigners, outsiders, and internationally, that is, in understanding and A film that is subject to prescient differences in empirical theory, should it be better and decisively appreciated, viewed and reviewed? 2 Discussion on Fellini-style writing and scripts. 3 Rome and contemporary times-in the end, Joe and I both decided to go and see it again. Because throwing away all the aforementioned things, it is so beautiful.

View more about The Great Beauty reviews

Extended Reading
  • Samara 2022-03-27 09:01:09

    Every scene is beautiful, but the movie itself tells us desperately that to transcend the ordinary life, people turn to wealth, aesthetics, art, literature, magic, religion, faith, but it is still in vain.

  • Darian 2021-12-18 08:01:12

    Fellini's soul was resurrected under the majestic and gorgeous appearance, condensing the abundance of emotion and grandeur that can only be found in Italian movies, and the sadness and moving accompanied by a gentle and kind mocking tone. Looking at it, I feel that I have faintly touched the unparalleled splendor of Italian cinema in the peak era. Severo played so well, and Uncle Ma was emotional and chic. The creator’s vision and emotional height determine the quality of the film’s essence, as evidenced by this film

The Great Beauty quotes

  • Jep Gambardella: The trains at our parties are the best in Rome. They're the best cause they go nowhere.

  • Jep Gambardella: The most important thing I discovered a few days after turning 65 is that I can't waste any more time doing things I don't want to do.