Roman Holiday is a remake of It Happened One Night. Although the former won the Oscar for Best Actress, the latter is a real Grand Slam, and it is the first Grand Slam in history. After watching both films, I'm glad I watched the latter first, and it set a pretty good tone. But this movie, let alone excellent, is almost just passing the line.
Let's look at the beginning of the story.
The most important point here is the rationality of the heroine's escape. "Luo" is about a princess who wants to escape because she can't stand the red tape brought by her status. To this end, the director deliberately gave a lot of shots to show: the princess could not bear the discomfort of wearing high heels for a long time when meeting the guests; strongly wanted to wear pajamas but was never allowed; sleep; and the next day's schedule to be stressed countless times. There are a lot of things that make the princess feel very uncomfortable. So, she took advantage of the dark and windy night to escape. The process of running out is too smooth, so I won't talk about it. Movies are always a bit of a coincidence. "One" is about a wealthy girl who has been strictly controlled by her father since she was a child, and can't decide everything by herself. Once she ran away to buy something, met a pilot and fell in love with him at first sight, and even made a private life. She was determined to marry him, but her father refused. Taking advantage of her father's negligence in educating her, she jumped from the boat into the sea and slipped away. The director also gave a lot of shots to describe: the father and daughter quarreled, the daughter was angry and refused to eat, and the father was distressed and helpless, so he came up with a plan: go to her room to eat by herself, she must not be able to resist the temptation. The two met in the daughter's room. The daughter's tone was very aggressive, and she spoke without mercy. Although the father was not annoyed, he used both soft and hard words in his words, but he was still unable to convince his daughter: the image of a rich girl spoiled by her father appeared on paper. . Later, the rich girl jumped into the sea and fled, but the crew never caught up. The father didn't blame him, and thought it was really strange that they could catch up. Its quirky personality also showed a little bit. As far as escape is concerned, the latter is much better. Moreover, the latter has a plus point, which is the sense of substitution. I don't think there are many people who have been princesses, but when they were young, there should be many who ignored their parents' objections for love.
After the female protagonist has finished explaining, the male protagonist appears. Since it is a remake, the two male protagonists have the same occupation, news reporter. The first time the Luo reporter showed up was a poker game and told us he was going to the princess' press conference the next day, and then... it was gone. In "One", the camera does not show the male protagonist directly, but a group of people surrounds a phone booth, and it is the male protagonist who is calling. He was quarreling with the newspaper boss, and it could be seen that the boss gave him a headache and gave him an ultimatum. And the male protagonist continued to talk after the boss hung up the phone, obviously to show face, this scene is very interesting. And the interesting point is that first, people surrounded him because no one dared to quarrel with the boss at that time; but, our male protagonist urgently needs a big news so that he can keep his job. The account of the opening of the two movies is a judgment.
Then comes the meeting of the hero and heroine. I won't say much about this "coincidence". "Luo" is that the male protagonist happened to pass by the bench where the princess slept in the open air, and "One" is that the male protagonist happened to take the same long-distance bus with the rich girl. However, the subsequent development of the relationship between the two people from unfamiliar to familiar, showed a very different performance. The description of "Luo" is really hard for me to describe. The princess was very sleepy because she sneaked out at night and was sedated. At night, I fell asleep on the bench and refused to get up. There were bumps in the car and you didn't fall asleep, but this night the wind was freezing to death, and the bench was so hard that it couldn't compare to the bed and quilt at home, and you could still sleep like this. Moreover, later, whether it was being slapped in the face by the male protagonist or being helped up, or being helped into a taxi, or being helped upstairs, and finally lying on the bed, the whole process was drowsy and completely awake. Is this medicine so powerful? And slept until half past one in the afternoon. But don't forget, if she doesn't escape, she will have breakfast with the embassy at 8:30 in the morning. In that case, why do you have to get up at eight o'clock? No matter how powerful the drug is, parents will not delay their normal schedule. But to be so lethargic is really inconsistent. Moreover, this "being at the mercy of others" led to the development of the follow-up story, which was indeed a bit deliberate.
On the other hand, "One", I think the performance is very good. The two happened to get into the same car. However, the male protagonist had a quarrel with the flight attendant because the last row of seats was full of newspapers. The rich girl took the opportunity to sit in the seat that had just been cleaned up. Then the wealthy girl was inexperienced in travel, her luggage was stolen, and the male protagonist helped to chase the thief but failed to catch it. After getting in the car, the rich girl deliberately didn't sit in the same row with the male protagonist, but she couldn't stand the snoring uncle next to her, so she had to sit back again. Along the way, the rich girl sleeps against the male protagonist. When they stopped on the way, the rich girl asked the driver to wait for her to do errands. At this time, the male protagonist found out the identity of the rich girl through the newspaper, and decided to win the big news. These four contacts have not only explained to us the "coincidence" of the encounter between the hero and heroine, but also explained why the hero has to follow her all the time. The logic is smooth and not deliberate for the plot, which makes people look very comfortable. . Moreover, in order to help the rich girl out of the siege, the male protagonist lied that he was her husband, which also made the subsequent two people appear less rigid when they lived in the same room. I have to say that so far, "One" has the upper hand, whether it is the arrangement of the plot or the performance of the characters.
Next is the relationship between the male and female protagonists. Let's talk about "Ro" first. The male protagonist's strategy is to play with the princess without revealing his identity, and by the way, he will know her opinion on some special things in the chat. He also specially called another colleague to take photos, but he didn't explain it to him beforehand. The male protagonist's performance in order to prevent him from telling the truth in front of the princess really embarrassed me. Then, I was really playing with the princess, riding a bicycle, taking pictures and dancing. In the middle, because the princess was riding a bicycle for the first time, she knocked down many passers-by, destroyed many stalls, and entered the police station. When I saw this part, I really had nothing to say. Since you don't want anyone to know the identity of the princess so much, it's because you want the scoop. But Nima's are all in the game. There are so many police and so many passers-by that none of them read the newspaper or are all face-blind, and they are not afraid of being recognized. Moreover, at the last dance, in order to escape capture, you made a big noise on the dance floor, and even fell into the water. In the end, the two fallen chickens embraced each other affectionately. Damn, what kind of thing is this, I just played with it for a long time, and the two of them played true love. This is too far-fetched. Now let's take a look at how "One" shows the emotional journey of the two. First of all, the male and female protagonists made a deal. The male protagonist protects the rich girl and goes to New York to find her Ruyi Langjun. In return, the male protagonist can get exclusive reports from the female protagonist. Then they were forced to live together for practical reasons - the car broke down, and the two of them didn't have enough money to open two rooms. The two beds are separated by a layer of sheets, which shows that the male protagonist's purpose is very simple. At breakfast the next morning, the rich girl was with a boy for the first time without any scruples, and she was taken care of, so the atmosphere of the conversation was very relaxed. At this time, a private detective sent by my father came to investigate. Let me talk about it here, because the detective has the right to view all the residents, this operation is a bit too forced. Or is the status of a detective already so high? The two acted decisively and acted as a couple who were quarreling, and the topics of the quarrel ranged from child rearing to messing about with men and women, living an old husband and wife. This shared experience of facing difficulties and solving them is very helpful in developing relationships. Then, the car broke down again. The male protagonist crosses the river with a rich girl on his back and deals with it in the wild for one night. There is another detail here. The rich girl is hungry alone, and the male protagonist is helpless. What time is he still hungry, so he has to go out to find something to eat. The rich girl found out that the male protagonist was gone. She was alone in the wilderness, scared to death, and when the male protagonist came back, she threw herself into his arms. See, trust and dependence are cultivated in this way, and the male protagonist is only complaining that she is hungry for a while and not hungry for so many things. And later, the two stopped cars together on the road, and faced professional pickpockets with wits and fun. straight In the end, in the hotel, the two exchanged heartfelt feelings. No matter how you look at it, in "One", the feelings of the two people came one step at a time, and "Luo" is still that sentence, deliberately done. Moreover, there is a very noteworthy point. In "Luo", the point where the love between the hero and heroine begins-that is, the point where the male protagonist and the female protagonist meet directly and meet each other-about 1 hour and 3 minutes, the male protagonist finds The princess who eats ice cream in the plaza gets sick and starts talking about it halfway through the movie. In "One", it is about twenty minutes: the male protagonist pretends to be the husband of a rich woman, or 25 minutes: the male and female protagonists live in the same room. Take 25 minutes, which is less than a quarter of the entire movie. So you can understand what I said, why the feelings in "One" are more convincing.
Finally, let's talk about the ending. In terms of pure artistry, the realism of "Luo" is much better than the romanticism of "One", these two attentions themselves are not superior or inferior, but when it is the end of a comedy story, it uses the cruelty of reality It can appear that the happiness in front is so heavy, and it can also move people's hearts more. But the key point is that the early story of "Luo" is too far-fetched, resulting in a weak ending. In "Luo", the male protagonist has never been able to cross the gap of identity - or, in other words, class - and this gap itself is so difficult to bridge. The princess also seemed to have an epiphany and understood her responsibility. The whole movie is about the princess running away to escape responsibility and happens to meet true love. But when she had to part when she met true love, she realized that this was her destiny. It was really an "epiphany", how affectionate the two tearful goodbyes were, and how stiff the princess's self-sustaining identity was at the last moment. On the "One" side, it is also a poor boy and a rich girl, and finally there is a happy ending with a big reunion, which seems to answer the audience's wish, but the overall performance is worse than the last two respectively. But the director still worked hard. In order to satisfy the rationality of the reunion of the two, the father had to make a compromise: he found his daughter's lover and promised to let them get married. It seemed natural for him to help his daughter escape marriage. Furthermore, he didn't make a big change in his father's character, otherwise he would make the same mistake as "Luo" if he was too abrupt. Although the father compromised, he still had principles. He tested the quality of the male protagonist by giving bonuses and aggressive momentum to the male protagonist. So in the end, I will persuade my daughter to pursue her own happiness. Of course, as a father, I hope to see my daughter marry true love. Although it is a conventional ending, the solid foundation in the early stage and the endless stream of jokes are cool!
"It Happened One Night" is so good, it's a pity not to watch it. As for why "Roman Holiday" is so common but so famous, I think it is probably because it was introduced earlier than "It Happened One Night", and the most important point is that Audrey Hepburn is really beautiful.
But for me, if I want to revisit it, I choose "It Happened One Night". "Roman Holiday", what the hell is that.
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