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
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