This afternoon I watched the famous film "Last year in Marion Budd" at Xingmeizheng Cinema. A long still shot of a couple of men and women in the garden has become a classic in film composition. That kind of desire Said Huanxiu's entanglement was presented to the audience with the help of this alienated and connected position. When the film first started, the subtitles and the lines of the characters in the film were a bit mismatched, which caused it to stop after more than ten minutes of playing, and then start over again. This time the subtitles and the lines of the film are basically consistent.
In fact, you don’t need to watch the subtitles. The movie itself is a stream of consciousness. The picture is beautiful, and French sounds very noble and elegant. Although I can't understand a single sentence, it feels like listening to someone telling you sincerely, so sweet and deceptive. In the previous European and American movies, the characters are very beautiful, like the people in the paintings, all over the body exudes a fascinating atmosphere, especially the heroine, who is not beautiful. The story is actually very simple. It means that a man kept lobbying a married woman, saying that they had met here last year and had a tryst. They had a sincere and passionate relationship with each other. He was trying his best to persuade her to leave her husband and talk to him. Go elopement. The woman was in a daze. At first she was very suspicious of the man's words and was noncommittal. She did not remember meeting him here last year; and he kept moving her with details and persuading her. Memories are sometimes like dreams, seemingly vague, intangible, invisible, but they have actually appeared, right there. Here, memories make us feel that even the impossible is necessary. Although the plot of the story is leaping and divergent, just like human thinking, it is scattered and not scattered. Although the story is simple, the method of telling the story is not simple at all. There are many pauses in the movie to show the subtle psychological activities of the characters, there are flashbacks, insertions, and many still macro close-ups... I don’t understand many specialized movie terms, but I watched this film which was shot in 1961. In the movie, I suddenly discovered that "bullet time" was played by predecessors. Although the technology at that time was not as advanced as it is now, and the actors seemed to have their chests still undulating and breathing when the performance was paused, but the concept at that time was definitely ahead of the present. Nowadays, people can only fry the cold rice of those masters before, and some even can't even fry the cold rice.
Although the content of the story is simple, it exudes the beauty of form under the direction of Alan Renai. This form of beauty also implies many subtle details, which seems to hide the philosophy of life. At the end of the movie, husband M said: You think you will not get lost in this regular garden, but you will end up lost in this dead night (if I remember correctly, the subtitles are like this). At this time, woman A seems to have been determined to run away with man X under the constant lobbying of man X.
This movie makes us think: What is marriage? What is love again? Can love be strong through marriage-this form? Is there marriage if there is love? Even if you fall in love now, you can still be immersed in love in the future, won't you derail it again? What are memories? What is a dream? Are there any connections between them? How real are memories and dreams? How trustworthy?
It is a pity that some viewers may find this story too boring. what a pity!
On the whole, the movie seems to be describing a dreamlike memory, and how much authenticity it contains is worthy of scrutiny and questioning. It's like film-this art form itself is derived from life, but it is higher than life. The most outstanding thing about this film is that it takes the form to the extreme, and it can even use form to replace the content of the story to make a brand new exposition.
Here, by the way, say a few more digressions. I also bought movie tickets for Hitchcock's "Victoria" and "Rear Window". The actor of these two films is James Stewart (James Stewart), and the heroine of "Rear Window" is Grace Kelly (Grace Kelly), blonde and blue-eyed, she has a natural elegance and glamorous beauty. . Grace means "elegant" in English, and she later became the princess of Monaco. Hitchcock also loved her very much. After Grace became the princess, he invited her to come back for filming many times. Unfortunately, due to the identity of the princess, she could not show her face again. In the movie "Ecstasy", Hitchcock uses Kim Novak as a substitute for Grace. The film also exposes Hitchcock’s obsession with blonde and glamorous beauty . Originally, I wanted to buy the representative works of Sunday's New Wave movies "Juul and Jim" and "Exhausted", but unfortunately, I had to go to work that day, so I had to reluctantly give up and give up. When editing this article, I succeeded in changing shifts with someone else, and finally I was able to read it. Haha, I really like Jeanne Moreau and Jean-Paul Belmondo, and look forward to Truffaut and Godard.
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