The main poster of this movie is simply unconcerned, two men and women lying in the sand, plus a dog. Who knows what this story is about? For the director, however, it doesn't seem to matter.
Compared with that Anderson (Wes Anderson), this Anderson does not look so popular. Although he is a disciple of Bergman, the movies he has made in his seventies can be counted with just one hand. , I spent most of my life shooting commercials. I think maybe it is for this reason that makes his lens extremely efficient. There are 39 shots in the whole movie, and all of them are fixed shots (but I vaguely remember that the first time the horse appeared in the bar scene, the camera was slightly shaken to the right). With a small aperture and large depth of field, 39 pictures are like 39 oil paintings. You can see every detail repeatedly and make new discoveries constantly.
This lens is still panned to the right
An understatement that is not distracted will make you feel endless aftertaste. Whether it’s the three encounters with the god of death at the beginning, or the discussion of "what day of the week" at the end, these seemingly unskilled designs and expressions make it easier for the audience to feel a real sense of presence: the camera does not switch, the scene stays With a panoramic view and clear environmental sound, this seems to be the perspective from which we observe characters and stories in daily life. When those issues that we have never considered seriously are put in a separate scene by the director, you will feel, yes, there is indeed such a thing. I think this is a kind of "tacit interaction" for life experience.
Of the 39 shots, four shots are short-lived (if I remember correctly), one is the couple and the dog in the official poster, one is a child blowing bubbles, and the other is a woman with her head in a stroller , And a couple staying by the window. This kind of "not mind-blowing" lens makes you feel very interesting on the contrary. Especially the man and woman by the window, although they couldn't hear what they were talking about, they could guess from their facial expressions and actions. This reminds me of Hitchcock’s design in Rear Window (1954), and the seemingly careless arrangement of the newlyweds living next door to Stewart. It actually shows the master’s attitude towards The infinite skill of life perception, a few shots explain a real and sad married life, from the passionate to the tired of each other is just the time for a case, thinking and terrifying.
The window couple who appeared briefly in the film
The newlyweds in "Rear Window"
The settings of the two salesmen are also interesting. The fat salesman has always responded humorously, but secretly has unlimited resentment. That's why he kept asking the same question late at night: "Is the pastime based on sacrificing others funny?" Who is he asking? Ask a companion? Ask the innkeeper? Ask the audience? shudder.
In fact, there are many things that this film can't understand. Of course, there are accumulations of history and culture. Many metaphorical expressions are indeed high and low, but I don't think this will have any impact on watching the movie. When the director shoots "without heart" and the audience sees "without heart", he will always be touched at a certain point in an instant, because this is the most real human being.
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