Bernini in Woody Allen's new "Love in Rome" is relatively unfortunate. His servant, the male driver's wisdom is an afterthought. It was not until the host family who got rid of the heavy reputation that was suddenly ignored by public opinion and had a strong sense of discomfort and loss, did he come out and enlighten him: "The world is difficult, and the rich and the poor often make the famous and the poor the most dissatisfied. But for Those who want to become famous and rich are the best time!"
Among them, Bernini and the bald male star in the film are famously rich; the newlyweds from other provinces who are full of dreams and just arrived in Rome are poor. The two classes just experienced (and presented to the audience) the "deep dissatisfaction with the hardships of the world" in the philosophy of servanthood. The reasons for dissatisfaction are all related to sexual matters - although the manifestations vary. The depiction of southern European character traits in British and American film and television works has also gradually become clichéd. Half a century ago, Billy Wilder's "Two Generations" was about passion and funeral, and it is still the same when it comes to Woody Allen's European tour. Among them, the latter seems to be extra lacking in novelty in the eyes of Chinese audiences: the fool Jiang Wu in "The Bath".
But the formality is not the point, the point is that the story of the coffin shop owner who turned into the bathroom singer on the stage of La Scala corresponds to the second half of the above philosophy - it is the best time for those who want to become famous and rich ! The owner of a coffin shop is someone who wants to become famous and rich in difficult times, and Woody's role is indispensable.
This is important, and one could even say that this is the real creative driver of this turbulent, multi-year tour of the American director's European (with India? Slumdog, restaurant series, and, um, teenage...) tour: Against the background of the economic crisis, the Jewish capital has not moved, and the film propaganda goes first!
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