Over the past many years, Almodovar has represented the opposite of restraint, restraint, and simplicity. His works are unrestrained, intense, extreme, and often have some personal "bad taste". Before I begin my review of Julieta, it must be said that this is a very brave work.
The story of "Julietta" is very simple: it tells the story of a woman who has lost her father, husband and daughter in various forms over the course of thirty years, and the silence between three generations (the original title of "Julietta" "Silent") like a sharp knife stabbed her body heavily, making every second of her life bleed, but all this is not presented in a very violent face, because all these are just the normal conditions of life .
The film has shown the scene of "people on the way" many times. In the past 30 years, from Madrid to Galicia, Andalusia, and back to the original point of Madrid, Julieta has been in trouble all the way. The breathless feeling of tiredness in the center envelops the battered soul, the traces of years and the cruelty of life: the mother is seriously ill, the father finds a new love, and he has no regrets about it; the husband cheated for a long time, and said without shame, That's just sex; the grown-up daughter learns the truth about her parents' marriage and leaves, only to send her mother a card every year for her birthday.
The last bright color of Julieta's life came from the lover he met in his later years. He followed her silently, with appreciation and tenderness in his eyes. And this light is played by the Argentine actor Dario Grandinetti (Dario Grandinetti). After "Tell Her", this is the tenth time between Grandinetti and Almodovar. After four years of cooperation again, fourteen years later, the man who didn't know how to listen finally learned to guard.
"Julietta" adopts the method of flashback, but it does not simply cross the "present and the past", but constantly deconstructs the memory in retrospect. This deconstruction adds a layer of dreamlike reality to the past time. openness, so we can see that when the young Julieta appears in the night train with a strange feeling and extremely unreal light, love and death come on the same journey, the elk on the snow is like a foreign object; The child's Julieta returned to her hometown to visit her bedridden and delirious mother. At night, her mother miraculously woke up and recognized her daughter who brought her grandson home. The three generations received a moment of warmth. He walked out of the room and returned to the way he was in his prime. All of this, when we return to reality again, we can't help but realize that everything is filled with the vanity and sadness of trying to reconstruct the past.
The most impactful scene in the whole film is the young Julieta's "instant aging" after betrayal and widowhood, which is considered to be "Bergmannian and allegorical". Reactions from the press and critics have been mixed after Julieta's release in Spain, but even the most vehement critics concede that this is one of the film's many amazing moments.
One of the funniest of the positive voices puts Almodovar in the same frame as Todd Haynes, who was lauded last year for Carroll, arguing that the two's work completes a "heavy take on a classic melodrama." "Sculpting and Reproduction", in the keynote "both the classical style of Douglas Serke and the rebellious atmosphere of Fassbender", and in the video, they are deeply inspired by the American painter Edward Hope. Everyday scenes are filled with silent emotions, and in terms of subject matter, "The theme of "Julieta" inherits the female characters and generational conflicts that Hollywood melodramas focused on in the 1930s and 1940s. "The Solitude" is an important step forward, with iconic works including Kim Victor's "Mother's Heart," Michael Curtis's "Sexy," and now, "Julietta."
At the same time, there are also comments that "Julietta" is a new word to express sorrow, the whole story lacks strength and persuasion, especially the two leading actors' performances are not satisfactory, a column published in "The National" said: "It seems that The whole world thinks Emma Suárez (Middle-aged Julieta)'s performance is amazing, to me she's a great actress, a charming woman, but her lack of it makes me Something unsettling, even though she's doing her best to show 'Bleeding Inside' throughout the whole play... none of the characters are believable, some of them are hilarious like Rossy de Palma (Rossy de Palma) The one played by Palma. There were also moments when I was embarrassed, like when the protagonist's father recounted how he had an affair with an affair at a 'music festival'. I also didn't understand what the suicide on the train and the elk outside the train had to do with What to say. In short, there is no need to rant between bad and worse."
Convergingly, most reviews agreed that "Julietta is still very Almodovar in terms of content and drama. Yes, but it's very different from Broken Embrace, Return, Talk to Her, and All About My Mother, it has an understated shell and leaves room for playfulness and dreaminess ." As the title of "The Herald": "Julietta, not Pedro of Almodovar". For me, "Julietta" is Almodovar who is breaking through himself and is full of courage, a little new and a little old. For us who are accustomed to Almodovar's past style, the initial feeling may be that the new is not as good as the old. , but I'm afraid it will take a few more years before we can better discuss what this film means in Almodóvar's directorial career.
In addition to the female theme, there are still many elements that Almodovar is used to in the film, such as the introduction of other art forms. In "The Skin of My Dwelling", Louise Bourgeois's sculptures showing the coexistence of the sexes enable Vera to Continue to survive, similar sculptures also appear in "Julietta" as a metaphor; for example, the "terrible" hairstyle of the young Julieta is just like Almodovar himself in the lead singer's time (for this "black history", please refer to the public account. The historical article "Pillar of Almodovar") of "My Place"); such as the ambiguous relationship between Julieta's daughter and her same-sex close friend, who flashed past the face like David Boer, etc., Everywhere is a distinct Almodovar. And of course his favorite Madrid. From Madrid, which was shrouded in the haze of regulation in the 1970s in "Live Color", to the most gay friendly and open European city in the world today, the world seems to have undergone earth-shaking changes. However, in the final analysis, every generation Their lives are still faced with similar issues and are still fragmented.
It is precisely because these topics span time, region and culture that when Almodóvar transplanted the novel "Escape" by Canadian writer Alice Munro (adapted from three of them) to Spain, there was no sense of disobedience and disobedience. The phenomenon. Although it is difficult to say that it is loyal to the original work, "Julietta" still retains the soul of Monroe's work, that is, to tell the turbulent emotions without destroying the calmness of the living body, to look directly at the "slightly stereotyped and very special human nature and the "irreversible time" It brings us a sense of powerlessness. "After the
Cannes premiere, "Julietta" will probably usher in more controversy. However, as a fan of Almodovar for many years, the author of this article only wants to talk about a fan who has been forging for many years, who has not changed his original intention, and finally got paid. A wishful and touching story of secret love: In 2010, a Spanish director named Pedro filmed a heavy-duty film called "The Skin of My Living", and secretly entrained private goods in the film, so that The heroine who was imprisoned read a book called "Escape" to express her admiration for the goddess Monroe; three years later, in an interview, the director named Pedro asked the reporter: "Is there anyone who doesn't Know that Monroe is the best short story writer in the English-speaking world? ” And earlier in 2008, the director named Pedro wrote in his national newspaper: “If you want to discuss the relationship between literature and film, one of the best examples is Julie Christie’s “In the Dark”— — Adapted from Monroe, one of my favorite contemporary writers. "
Because of his love for Monroe, the Spanish director named Pedro once considered going to Canada to make an English-language film. Later, I might have given up because my English was too bad. However, nothing in the world can stop a fanboy from getting close to his goddess. In 2016, 66-year-old Pedro finally moved the background of "Escape" to Spain and put it on the big screen, named "Julietta", so far To the highest level of fan brother: the name and the goddess will be linked together forever.
The text comes from the public account: My habitat
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