Love at first sight.
"Chapter one. He Adored New York City. He idolized it all out of proportion." Uh, no. Make that "He romanticized it all out of proportion. To him, no matter what the season was, this was still a town that existed in black and white and pulsated to the great tunes of George Gershwin"
Uh... no. Let me start this over. "Chapter one. He was too romantic about Manhattan, as he was about everything else. He thrived on the hustle , bustle of the crowds and the traffic. To him, New York meant beautiful woman and street-smart guys who seemed to know all the angles."
Ah, corny. Too corny for a man of my taste. Let me... try and make it more profound. "Chapter one. He adored New York City. To him, it was a metaphor for the decay of contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out of ...was rapidly turning the town of his dreams..."
No, it's gonna be too preachy. I mean, face it, I wanna sell some books here. "Chapter one. He adored New York City, although to him it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, television, crime, garbage.. ."
Too angry. I don't wanna be angry. "He was a tough and romantic as the city he loved. Behind his black-rimmed glassed was the coiled sexual power of a jungle cat. New York was his town and it always would be ."
(Music "Rhapsody in Blue")
Woody Allen is full of passion and coppery thoughts, and a scene of New York flashes through the accompaniment of "Rhapsody in Blue". Probably anyone who hasn't been to New York will be full of curiosity about the city and this film, and all those who live in this great city can find the most in this long list of emotional states that Woody Allen talks about. One that suits you.
Many people hate Issac (aka Woody Allen himself) who is constantly babbling in this film, and even more hate the hypocrisy and cowardice of a middle-class intellectual in the film. But I think this is one of the most sincere Woody Allen films.
The thoroughly romanticized life of Midnight in Paris is, of course, the most endearing. Even a mockery of the cowardice of the general public and the Upper East Side wealthy, as in "Love in Rome" and "Blue Jasmine," is welcome. But I personally acted as a man who was middle-aged, bald and divorced, his ex-wife became gay, quit his job in a rage and lived in embarrassment. Besides, dry mouth takes up 80% of the dialogue, we should know the director's opinion on this. The movie is serious. He really has something to say.
New York is neither a romanticized city that means thriving in Gershwin's rhapsodies even if it's crowded, nor a metaphor for the so-called corruption of modern civilization with only drug waste and crime. In the same way, people are not either romantic or male thieves and female prostitutes. So I can understand this Issac struggling to get to know himself. I ditched Tracy for Issac and went to Mary, and when I thought I finally found the best match, I was dumped by Mary and then ran back to Tracy with no sneer. Even when he came back to Tracy, and Tracy said "You (just a short) wait 6 months", "You should have some faith in people", he was a little sad for this sad middle-aged man. Issac's most pitiful thing is not to lose anyone, but probably when he let go of the pure life that intellectuals were proud of, he was trampled on dignity by Tracy, who thought he would never abandon him.
In addition to the complex tune of my complicated human life, the film should end with positive and positive endings. Yes, people have their entanglements, but they should all be tough and romantic, like Issac, like a New Yorker, like this City.
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