A puppet show suitable for "interpretation carnival"

Junius 2022-03-12 08:01:02

You can feel Calax's ambition and desire for expression from the big battle at the beginning. Generally speaking, in the form of a musical, it continues to extend the film itself, media, viewing behavior, art in "Sacred Car Dealer" Reflexive thinking about the relationship with business, etc., continue to consume the old driver's roaring performance in "Marriage Story", which mixes love, suspense, horror and other genres, like opening "Marriage" in the style of "Monster Night Panic" "Story", and in the second half, "Phantom of the Opera".

Perhaps the conflict between the hero and heroine can be seen as the contradiction between the satirical deconstructed and improvised comedy (talk show) and the repeated tragedy of the sublime classics (opera). Sacrifice all kinds of opposites. The male protagonist needs to keep repeating "clap" in the fixed lines, while the female protagonist only needs to bow gracefully to accept the praise. The entanglement and "disgust" behind it is not just a trivial matter of the strong woman and the weak man in the husband and wife, but the story unfolds and tries to take into account the emotional popularity. The completeness of the play, so that the latter's vulgar emotional contradictions dilute the thinking that the deep logic of the two performing arts may lead to.

The blueprint of the old driver's tickling to death on stage is "Pierro Killing His Wife", about the clown killing his wife who betrayed him by scratching the soles of his feet. Many philosophers have made their own interpretations of this story. For example, Derrida analyzed the multiple imitations of dramas. Zizek used this pantomime as an example in the concept of illusion, and mentioned the "androgyny" of the murderer and the murdered in the body drama. ". The "clown" plays an alienated other in himself, and this strange "crystal" is their "puppet" child, a "prop" for a marriage and talent show. The male protagonist "plays" a devoted husband and responsible father to escape the real "acting". (It was a happy marriage that delayed me...I want to introduce this treasure to the world...) However, it is also a metaphorical system of marionettes, and the puppeteer in "The Flower of Two Lives" is "opening the pattern" by comparison.

"again" may be another key word for understanding the film. Tragedy on the stage of the opera dies again and again, evoking the same emotion and tremor, but the jokes on the talk show can't stand such "repetition", and even this time's funny may not be able to be cheered next time, closer A "once-only" art that relies on the immediate environment. In the opening performance, the talk show was "collaged" into a musical about the empty "laugh". For repetitive performances, repetitive marriages, the real "interruption" is death. And when this "murder" was repeated by the old driver again, the art of murder was destined to become another failed "performance" for him.

The reason for the failure of this performance is also that it is difficult for us to see the uneven sense of "failure" inside and outside the play. As the control group, it should be a "successful" opening talk show. I don't know if it is because of the context or the performance. It doesn't seem to be much "successful" in itself. Its role is more to pave the way for the obsession and madness of the male lead, making people See the uncontrollable violence factor of this "Holy Ape". What's worse is that all the arias throughout this musical, whether it is the composition or the singing skills of the actors, are a little embarrassing. Could it be that this is also the director's method to "offend the audience" and make us reflect on the lala land-style carnival?

There are also many people who mentioned "Tribute to David Lynch", in which several MVs of the heroine are integrated into dreams and psychological thrillers, which do have a bit of gothic beauty, but more dreams are too straightforward. For example, watching the me too accusation dreamed by the news in the car, the heroine can achieve political correctness and evenly distribute the skin color of female victims in a trance. Is this kind of intentional play part of the big picture? Perhaps replacing this accusation with the backing vocals behind the stage of the talk show, warning the heroine in the form of a chorus of ancient Greek tragedy or the three witches in Shakespeare's "Macbeth", is more in line with the classical and quirky atmosphere created by the film.

Obviously, the entertainment news that appears from time to time in the film is also part of the media power that the director is trying to think about, but the paparazzi do not provide a part that goes deeper into the corner of privacy, and the revelation of the crime also relies on the public identification of witnesses, and there is no suspense or emotional line. The useless "self-media" has really become a part of collage (patchwork).

At the end, Annette walked towards the puppet and turned it into a real person, found her own "voice" from the ghost mother's possessed singing, and "talked" with her father. At this time, I wanted to see all the characters except Annette being "beaten". "Return to the original shape" became a marionette, joined the lantern flower team at the end of the film, and the puppeteer director behind the scenes seemed to just add a lot of mixes to the repeating his own voice. The play is like an old driver telling a joke with a microphone cord around his neck, roaring and suffocating, and the various hidden easter eggs and tributes in the film are like shouting "clap clap clap!" to the textualists and film critics in the audience

View more about Annette reviews

Extended Reading
  • Cameron 2022-03-17 09:01:10

    4.5, Karax's film is as always full of baroque colors, just like his "Sacred Car Dealer" ten years ago, the opening voice-over and microphone sound as a metaphor of the film itself = hypnosis, just juxtaposed on Amazon's logo - theater . In the film, a melodramatic narrative becomes spooky in musical arias and Lynch-like soft overlays. "Ann" is the opposite of Chazelle's retro-style singing and dancing, and to a certain extent, brings modernity back to the poetics of ancient Greece. Annette is a humanoid that can cause the Uncanny Valley effect, a by-product of the failed marriage of Henry (destroy, Dionysian) and Ann (construction, the sublime of the sun), her alias is Capital, and the film is a black " Pinocchio." As seen in horror films, the ghost occupies an irreducible remnant outside of 'Ann', and the intensity that radiates in silence leads to a baroque global narrative/division/exploitation trinity , as in Sloterdijk's reconstruction of the process of globalization through sphere theory.

  • Delmer 2022-03-19 09:01:10

    The driver's acting was okay, and the singing really tortured my ears. It is quite difficult for me to connect with Karax. This peculiar style, a white male director from a wealthy area of ​​Paris who likes to ride a motorcycle to pierce the quiet suburbs of Paris in his youth, feels that he will love to talk about a superior literature and art all his life. The white man's narcissistic and kitschy life. When I was young, I was in love, and when I was old, I started to talk about my daughter, but I was still myself after tossing and turning. Even her daughter is not a daughter, but a puppet, very creepy. It's quite outdated and boring, but I never hate Karax, it's really cool, but if you let me drink with such a stubborn old man who refuses to grow old and listen to him, I probably won't either.

Annette quotes

  • [first lines]

    The Narrator: Ladies and gentlemen, we now ask for your complete attention. If you want to sing, laugh, clap, cry, yawn, boo or fart, please, do it in your head, only in your head. You are now kindly requested to keep silent and to hold your breath until the very end of the show. Breathing will not be tolerated during the show. So, please take a deep, last breath right now. Thank you.

  • The Accompanist: [while conducting an orchestra] It's a fast changing world. I am now the conductor of the city's finest orchestra. No longer the self-deprecating accompanist from such a short while ago. Ann would be proud of me. I do have my suspicions, though, about why she isn't alive. And doubts, too, about something else, but... Excuse me a minute.

    [goes back to conducting]

    The Accompanist: Henry has invited me to his place tomorrow, to discuss a matter that he says concerns Annette, and Ann. As awkward as it is for me to attend, anything that concerns Ann and the future of Annette is something that concerns me. Excuse me one more time.

    [goes back to conducting]

    The Accompanist: My love for Ann has never died. Neither has my regret that our affair was only an affair. I had. been hoping for so long. Then at a time when she was in despair, we started an affair. But the very next week, she met Henry. That was the end of it, the end of me. I'll always regret that. I deeply miss her - her warmth, her voice. I miss Ann. Excuse me.

    [goes back to conducting]