It was really upset after the movie. This movie went around from a disaster movie to a rescue movie. All sorts of unrememberable B-level films about firefighters that I have seen in an instant rushed through my mind. But it is true that Olive Stone's handwriting is still different, and there are still many things to see in a detailed analysis.
The first lies in the interpretation angle of the proposition of "911". There are very few films on this theme, and there are two that are worth mentioning, and they are indeed works that have left a big name in the history of film. The first is "11'09''01-September 11" co-produced by 11 art directors. It is a time-limited assignment with a set of topics. There are many whimsical ideas. It is obvious that Olive Stone gave Mexican director Alejandro González. Imitation of passages taken by Iñárritu: some identical images and similar sound effects. Especially when Alison walked out of the house at night, it was filled with the endless reports of various TV stations on the 9/11 incident. These voices overlapped, and they did reflect her mood. Iñárritu runs through the entire film in his short film. Including the interweaving of television programs in various languages in the transitional passages-also from Iñárritu. The second is that Michael Moore took the Palme d’Or’s business card "Fahrenheit 911". The scene of the flying paper in "World Trade Center" is from "Fahrenheit 911", and the time handling of the event is also quite similar. Place. In my opinion, it is impossible for any film about 9/11 to have a higher achievement than "11'09" 01-September 11", but as a film that has entered mainstream commercial theaters, even an unruly director like Oliver Stone has to obediently shoot like this. Commercial theater means PC, that is, political correctness. Therefore, it is necessary to: First, not to stimulate people who have a psychological shadow of 9/11, which will give rise to all kinds of behind-the-scenes gossip, and bypass the tragic visual scenes such as the collapse of the building in the story. After all, this matter is too close. Even if the shipwrecks in the ice sea jumped into the sea to escape or freeze to death, no one would have psychological trauma to the Titanic. Second, we must balance the racial perspective. Perhaps these two archetypes happen to be one black and one white, but the deliberate arrangement of Alison and a black woman embracing and weeping has limited the hard work of the screenwriter constrained by the PC. Even so, the two selected are still Americans, and those other ethnicities have been gently erased. Third, avoid politics. Everything is related to life's trivial matters. From the perspective of ordinary people, all they think is the kitchen at home or the name of their daughter, or if they scolded their son, they can't remember the last words of the husband. Under the requirements of PCs and commercial movies, serious trauma and the resulting lack of faith were avoided. The scene of God and the spokesperson of God, the pastor of the Marine Corps, even showed that the screenwriter and director tried to raise the theme but everywhere. Restricted dilemma. Do you think Oliver Stone is stupid? He is not stupid. Can he interpret the alienation of people and the trauma it caused to the nation in the Vietnam War so profoundly that he suddenly had nothing to say in the face of 9/11? Not really—politics and trauma can't be told, but only trivial matters of life and religion. They are really helpless...After all, Oliver Stone is not Michael Moore.
But under numerous restrictions, Stone did express his thoughts implicitly. The "anti-hero" narrative adopted is itself a kind of uncompromising. Just like Chen Kaige's "Yellow Land", the Eighth Route Army, portrayed as a hero and savior in traditional movies, has become irrelevant to politics, not only collecting folk songs, but also a belated and absent savior. In "World Trade Center", the policeman who was supposed to rush in to save lives became the Athena of the Saint Seiya. She was in a difficult position at the beginning, relying on her own beliefs and expecting others to rescue her. This is nothing but a mockery of traditional commercial films and mainstream narratives. At the same time, this avoidance is also a reaction to the traditional disaster scenes that are flooded in A-class movies like airplanes hitting buildings. After avoiding it all the time, Stone's talents may be the only thing left.
Another thing to see is the design of the narrative perspective. Since the PC principle has to avoid many things, such an approach angle was chosen. Although it cannot be compared with "11'09''01", the courage to face this disaster is also worthy of admiration. The sound composition is well-designed, and since the course of the event is already well known, Stone can safely use sound to refer to the progress of 9/11. He arranged, or the underground mall where the two prototype characters entered in time, thus avoiding the direct visual presentation of 911. The underground mall that trapped them is clearly a reappearance of the picture of hell. The so-called watching the leopard in a tube, leaving space on the ground for the audience to imagine, this kind of processing is not bad. As for the actresses, the madness and rampage are performed well. But the role of narration is only to lengthen the time of the film, create anxiety and anxiety, and fully pave the way for the final sensationalism. Speaking of the final sensationalism, the effect of the passage in which Will was rescued is still far more touching than the passage in which Chang was rescued. At the end, I realized that this is still a fucking Hollywood cliché: Immortal love triumphs over death...
Well, Haw is so crooked, after all, this movie is just so-so. Those PC and PC stuff are all fucking nonsense. Did you hear that policeman who made hot dogs: "I really want to kill them by myself." The Marine Corps pastor: "We will definitely get revenge." In the film, an American story about unity and friendship, inspired by the Lord or for other reasons, He rushed in without frowning, really like our heroic and brave soldiers of the People's Liberation Army. What you see are two Yankees. What you can't see are people from 78 other countries behind the 2000-odd figure. What you see are two people who have been rescued. What you don’t see are those who died instantly or died slowly—they need to be saved because the United States, which is composed of black and white, needs to be saved; and this trauma It must be avoided, because the Titanic and the Vietnam War are not in sight; but how to fill this trauma and the resulting lack of faith, the director also gave the answer: either find God or go home-"Welcome home!" It was all sunshine and smiling faces, and a hearty thanksgiving barbecue party. And the unsatisfied audience is nothing more than two types: either the audience gloating to see the plane crashing into the building, or the audience like me who feels that Oliver Stone has lost his edge and political criticism. So if you are not satisfied, go back and watch "11'09''01". There, Imamura Shohei will tell you what is holy war, Sean Penn will tell you the benefits of 9/11, Samira Makhmalbaf will tell you that 9/11 has nothing to do with many of us, Idrissa Ouedraogo will go with you to catch bin Laden, Ken Loach will tell you that 9/11 is the retribution that the US government deserves, and Iñárritu will show a picture of 9/11-whether God guides us or keeps us dark. This glass of Oliver Stone brand warm water is suitable for those injured people in the United States to heal, and others don't care.
http://www.mtime.com/my/yinxiang/blog/224411/
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