There is a class tomorrow morning, and I can't say enough.
If you try to wake the lonely, sleepy people in Hope's paintings, they step out of the frame and become the furious, twisted people of Scorsese's films.
Scorsese's films are like cross-media interpretations of Hope's paintings. The melancholy and danger of urban life he shows are at odds with Hope's paintings. In the same numb city life, confused and anxious people are solving step by step. Loneliness and sadness. Critics called Hope's lineage the Ashcan School, and Scorsese's "Taxi Driver" is also a city full of filth and scum.
Many of Hope's works are presented from the perspective of a voyeur. In scenes such as movie theaters, gas stations, opera houses, motels, etc., you can always find that person. He is alone and out of tune with everything. In scenes that are often empty , with ambiguous expressions and preoccupied minds; and Scorsese contributes a specific identity to the central subject in Hope's paintings ("One Person")—a taxi driver.
I thought Scorsese gave an example of a genius that started out as a symphony of brilliant minds and ended up in a dialogue that made for a superb artwork, and Scorsese seems to be making movies all the time Not communicating with Hopper's paintings.
Let's think about the profession of a taxi driver again, as Wizard said:
you do a thing , and that's what you are. You got a job, you become the job.
This expression reminds me of the charming note in "After hours": "Help! I hate this job." The job of urban life defines the identity of each participant (like cab-cabbie's word formation), in At the same time of alienation and regulation, it also created a complete class system, which is larger and more complex than the medieval aristocratic feudal system, and also gave birth to Travis's love for Iris, which is not inferior to the elegant love of the Middle Ages, and the relationship between them. The structure of desire is similar. They all yearn to seek the liberation of the mediocre and low life through the illusion of love, so as to give themselves a solid foundation of meaning while being despised by the society. They all need to fill their spiritual emptiness and frustration.
If we ponder along the lines of elegant love, we will find that there is a rather obscure correspondence between "taxi drivers and knights", and the historical cycle is isomorphic. Although cars and horses are used in different eras, they have relatively close identities. Metaphors, in addition to providing the convenience of means of transportation, also artificially created an acquired concept of "walker" that was excluded and devalued, and the possession of means of transportation was considered to be superior. Sri Lanka deliberately arranged a picture of PALANTINE's campaign speech: PEDESTRIANS KEEP OUT. (Pedestrians are not allowed to enter).
Such a clear political symbol may mean that the owners of the lower bodies shown earlier in this frame are all car owners, they are big belly, they are pampered and don't need to be in a car, they are the decent little bourgeois in the city, only they have it. The right to vote, and the street dust eaters have no right to participate in politics. This picture is a satire with strong contrasts. The so-called equal political elections are as usual (ordinary times), and there is no difference (these are just ordinary times). This is also reminiscent of the rumors that American cities are seriously unfriendly to pedestrians, and it makes people more convinced that the way of travel is itself a class division. If readers remember the scene where Tom yelled at the phone at the beginning, they would be more enlightened. The third-party manufacturer ignored the underlined are in "We are the people" and put it on we, which caused Tom's comments. Strong dissatisfaction, perhaps this itself is what Scorsese wants to question.
Even the final shot goes to Trevis, who is considered the owner of the car, albeit on a lease, just like the feudal knights of the Middle Ages who rented horses and weapons like aristocrats.
Going back to the Hopper discussed earlier, in fact, this film has a very playful and obvious tribute-
When the bodyguard asked where Trevis lived, the address he made was very intriguing. I still haven't found out what the meaning of 154 is, but I got this rabbit joke, hip, hop, I think Scorsese's The implication is that hopper is a hip (hip), no, it should be that Hopper is hip (fashionable).
Finally, I think Scorsese's tribute to Hope is that he provides an artificial look and situation for Hope's two-dimensional paintings.
The rear-view mirror of a taxi: Through the kind of voyeuristic probing, to detect potential threats, there is a heavy sense of crisis in the doubt, not to mention that there may be an unknown femme fatale sitting in the back seat, or a person with a Maniac in Magnum 44 caliber.
It was this madman who taught Trevis how to show the violence of words. It was a vivid display of violence. He repeated a few strange words, which violated all possibilities of understanding and cooperation. He did not need to answer, he did not need to understand, and he did not want to. The listener replies, and even controls all actions with words, and the silence itself in the side-spaces of monotonous language is more terrifying than the terrifying repetition.
Later Trevis also used a similar way to provoke sport, but the way he spoke with a gun in his hand was different.
This kind of twisted and perverted narrative has his inner rhythm, sticky and dense, just like the sticky and falling flowers in the male protagonist's room, representing a love without echoes, and it is also the inner portrayal of tired and confused urbanites.
You're only as healthy...
...as...
..you think...
A sentence should be divided into three paragraphs. If the characters in Hope's paintings can speak, it may be their inner voice.
Finally, I'm sleepy, let's end it with a joke~
If you pay a little attention to the decoration in Iris's room, you will find oriental landscapes, similar to Mucha's rococo style and Indian style, and Trevis finally turned it upside down, which may mean a kind of trash can painting to other The carnage of style, I guess Martin is happy to see it happen.
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