In the first few issues, we introduced actors and directors such as successful transformation, "self-release" and "division", in this issue, let's take a look at the actors and directors who are less "talented" to see how they understand the film.
< h1 class="pgc-h-arrow-right" >[Koibun] Koibumi (1953)</h1>
Director: Tanaka Atsuyo
Starring: Masayuki Mori / Harumi Kashima / Shizue Natsukawa
Type: Love
After the war, The people's livelihood in Japan was poor, and various means of making a living appeared. Ji wrote love letters to American lovers for the "common woman", and was particularly sympathetic to them, but for his beloved Michiko, after learning that she had been a prostitute, he could not forgive.
Just when he realized his humble thoughts, Michiko had a car accident. At the end of the film, Michiko gradually wakes up from her coma.
The heroine of the film, Michiko, is the most successful character type that Tanaka Has played many times, and she is faced with similar lovers' departures, hardships in life, and helpless betrayal in a series of films such as "Nishizuru Generation Girl" and "Hen in the Wind".
Tanaka chose a script with the characters she was most familiar with to shoot, which also took a shortcut.
The film has a clear contrast: the cowardice and stubbornness of the male protagonist and the tenacity and humility of the female protagonist.
Obviously he can never find the direction of life, will only talk about being a good person, but there is enough anger to accuse Daozi of "depravity", and obviously he loves the other party because of this bit of face is not good-looking, twisted and pinched, in contrast, Daozi in order to survive the betrayal has been extremely wronged, in the face of the harsh rebuke of his lover is just a blind apology, tears.
Even so, her motivation to become a human being again lies in gaining the understanding and love of the other party.
Such a sharp contrast is the biggest highlight of the film, but the problem also arises, this delicate contrast to that generation of Japanese masters such as Ozu, Naruse, Mizoguchi, etc. is really common, grab a hand - and the author of the script is still Keisuke Kinoshita, Tanaka Atsushiro still draws tigers is too much of a trend, we can see the actor Tanaka, but where is the director Tanaka?
If even the dragon suit is Ozu's Kasachi, is this Tanaka Atsuyo's luck or misfortune?
<h1 class= "pgc-h-arrow-right" > A Bronx Tale (1993</h1>).
Director: Robert De Niro
Starring: Robert De Niro / Chaz Palmintry / Lilo Brancato / Francis Capra / Tyrol Hicks
Genre: Drama/Crime
Another heavyweight actor, Robert De Niro, who is at the same level as Al Pacino and Dustin Hoffman, is not willing to appear in public as an actor.
In 1993, he self-directed and self-acted in the film [The Bronx Story], which not only had a solid story, but his performances remained of a high standard.
The ordinary identity of the driver he plays in the play is very close to the boxer he plays in "Angry Bull", who although the legendary character, the boxer's struggle as an ordinary person is very similar to the father character in this directorial debut. And his honing in movies such as "Godfather 2" and "Deer Hunter" can still find some clues in this work.
[The Bronx story] involves three main characters: two "fathers" and a son.
Annello's childhood, because of the fact that Sonny was in a street shootout, gradually led the two generations of unrelated people to follow the path of father and son, and Sonny's underworld identity involved Anilao in a dangerous gang life; on the other hand, Anilo's biological father (Robert De Niro) demanded that Anilao live an honest life and stay away from Sonny.
A child who grew up with two "fathers", or two kinds of education, has a "different childhood" from most children (another Chinese title of the film).
The success of [Bronx's Story] should also be due to the creation of the screenplay (the actor who plays Sonny is also the screenwriter of the film), so later De Niro's "The Good Smilerd" in 2006 did not make the film outstanding because of the participation of many A-list stars, because De Niro did not find the same excellent script as [Bronx Story].
If De Niro wants to succeed in his directing career again, he will have to put more effort into the script of the film, rather than relying solely on the cast, of course, if he does not "try" it will be a two-story...
<h1 class="pgc-h-arrow-right" > Unstrung Heroes (1995</h1>).
Director: Diane Keaton
Starring: Andy McDowell/Michael Richards
Genre: Drama/Comedy
Litz's mother was suffering from cancer, his father was reluctant to go near him, and little Litz, whose heart was hurt, was sent to two crazy uncles.
After a initial estrangement, he establishes a relationship with his new relatives, and he regains his joy, at which point he learns that he must leave.
Diane Keaton, who once called herself the "best comedy actress", made her first film in 1995, "True Love and Pure Heart", which won the "Golden Camera Award" in Cannes that year.
Strictly speaking, though, this isn't Diane Keaton's true debut, as early as 1987, she made a documentary called "Heaven."
As a comedy, Keaton passed on her experience to McDowell, who became famous at the time for "four weddings and one funeral", and her performance was undoubtedly influenced by Keaton's comedic style such as "Dumb Goose", and with black and white images, the story of this crazy uncle became a good film that teased Jewish family life.
In the 1990s, Diane Keaton's role did not change much with age, or mainly light-hearted romantic comedies, and there was no shortage of such masterpieces as [New Father-in-Law], the director had her play ticket nature, but from the only few works, this woman who had a relationship with Woody Allen really did not "steal".
<h1 class="pgc-h-arrow-right" > Antwone Fisher (2002</h1>).
Directed by: Denzel Washington
Starring: Derek Luke / Denzel Washington / Joey Bryant
Genre: Drama/Romance/Biography
Denzel Washington's performance has gone from a mature stage to a breakthrough or a maintenance phase, and in his 2007 co-starring with Russell Crowe, Washington's performance was as unquestioned as ever.
His 2002 directorial debut ,Breaking Out of Adversity, wasn't as smooth as his as an actor.
The psychiatrist he plays in the film is not much of a challenge, unlike the desperate efforts at the beginning of his career, such as the soldiers in the [Glory Campaign] in 1989, the impulsiveness, tenacity and the character of holding back tears in the face of humiliation are difficult to surpass in the future character image of Washington;
Against that is the image of the lawyer in [The Philadelphia Story], once the actor succeeds in playing a role that is different or very different from the previous one, he can successfully climb to another peak of his career.
In fact, for this film, the audience does not have to be harsh on Washington's performance, because he is not playing the main role, and it is not the main reason for the film's failure.
As a biographical film, Washington's ability to grasp it is not in place, and the similarity between the theme of the film and [Mindcatcher] is even more criticized by the media.
If you want to gnaw on the hard bone of character biography, you must work the characteristics of the protagonist, and Washington let this expression be close to the narrative of another film, so that not only the characters have no characteristics, but the characteristics of the film itself are left.
Denzel Washington, who was determined to take the direction of the director, shot [The Great Debaters] in 2007, and he recruited many Oscar elites to join the film production, although it was an improvement over the first work, but there was still a certain distance to eat the director's bowl of rice.
Fortunately, Washington's actor status made him afford to lose, and just before the release of the new film, the British Film and Television Academy awarded him the Outstanding Achievement Award.
<h1 class="pgc-h-arrow-right" > [When Love Becomes a Habit] Parlez-moi d'amour (2002).</h1>
Director: Sophie Marceau
Starring: Judith Goldreco / Nils Alestrup
Genre: Drama
French intellectuals once ridiculed Americans' understanding of their culture with the equation: De Gaulle + Sartre + French baguette + Sophie Marceau's breast = French culture.
Although it is a joke, it also proves that Sophie Marceau, as an actress, is a symbol of French charm! And the frank body nudity in the movie is also Sophie's personality label!
However, the Personality of the French actress does not have the personality of being a director, and Sophie declares her desire to transform with a film [When Love Becomes a Habit].
Sophie said of her debut: "Every director has been writing her screenplay since birth, and it is not until the shooting is completed that there is a break in her memory. "So it's not hard to see that this debut has its autobiographical flavor."
A couple with an age gap divorced after 15 years of love life, and after the two separated, the wife took care of the children independently, while the husband wandered away from home. Finally, one day the two people missed each other at the end of the world.
The audience can faintly see the young Sophie Marceau on the side of the heroine's face, but the film has almost no attraction other than herself, the beauty of being an actor is still there, but the director's wisdom is not present, and the biggest problem is that there are too many ideas.
There are unforgettable male-female relationships, spiritual changes after divorce, independent consciousness as a woman, and the small mood of missing the end of the world, these things are not too thin to be expressed in a single film, but Sophie tries to express every theme.
Sophie apparently ignores the subtlety of being a French skit in simply impressing you.
Even the most beautiful breasts will sag, only wisdom will always shine, if Sophie is a director to make people remember her longer, then she really has to understand this big vernacular: directing is a science.
<h1 class="pgc-h-arrow-right">[孤胆警探] For a Cop's Skin (1981)</h1>
Director: Alain Delon
Starring: Anna Parillo / Alain Delon / Daniel Secardi
Genre: Action/Romance/Thriller/Crime
Alain Deron's handsome appearance gives the impression that he was born to be an actor, but no one will associate his name with the director. In 1981, Alandron directed his first film, Lone Detective, and it was dedicated to director Jean Pierre Melville.
The handsome young man, who began working with French heavyweight directors in the late 1950s, quickly became popular in the film industry.
In 1964's "Black Tulip", Alain Deron brilliantly played two twin characters with completely different personalities, allowing the audience to see that as an actor, he did not eat only by his face;
Next, in the 1967 collaboration with Melville, Alain Delon played the exact opposite of Black Tulip's killer role, which was a challenge not only for him, but also for audiences accustomed to his charming side, which did not prevent him from successfully portraying a calm and serious killer, but made the role one of the most commendable in his role.
Alain Delon in [Lone Detective] is much calmer than the coldness in [Lone Killer] or the charmer in [Black Tulip]. Strong elements such as rape and gunfights are not integrated with the theme of the film.
Deeply influenced by Melville, Alain Deron did not show the black humor he wanted, but instead made the structure of the film appear loose; secondly, the two contradictory elements collided with each other, causing the film to feel like it was torn apart.
Two years later, the unwilling Alain Deron and others co-directed a film called "Le Battant", which was forgotten in an unknown corner, and failed even more than the directorial debut.
Therefore, Alain Delong, who was bent on using the director's achievements to prove his talent and appearance, did not achieve the effect he expected.
<h1 class="pgc-h-arrow-right" >[not seen] The Missing (2003).</h1>
Director: Lee Kang Sang
Starring: Miao Tian / Zhang Jie / Lu Yijing
This is the first time that Li Kangsheng has written and directed his own film after twelve years as an actor in Cai Liangliang's films. Unsurprisingly unusually dull.
[Missing] is a movie in which a grandson searches for his missing grandfather. Although this is the beginning of Li Kangsheng's gradual independence, the style of the film has a strong trace of Cai Liangming: speechless, dead silence, shadowy music, and then slowly ending.
The extensive use of still shots and long shots makes this film with a simple plot even more dull, like Li Kangsheng's own silence in reality.
The well-off who is afraid of the dark in [a few points over there], the well-off who applied for the male protagonist of the A film in [The Flyover is gone], and the director Li Kangsheng who is [missing] are the inheritance of a person's essence, a continuation without change.
The film's strong contrast makes the director's intention clear: to present a miniature picture of the disease of modern civilization.
The film does not have thrilling stunt scenes, no ups and downs of the storyline, and some are just trivial chores that can happen everywhere in ordinary people's lives. These trivial chores allow people to see themselves in life through the screen.
Stuffy, because of seeing the problems thrown by the film, resonate and fall into contemplation. Watching director Lee Kang Sang let [not see] coldly knock on the already numb humanity of urban people.
[Not seen] is a film cloaked in ordinary clothes but painful to the bone marrow.
In the subtitles at the end of the film, we can know that this is a gift dedicated to Li Kangsheng's deceased father. Cai Liangming, who is also a teacher and friend, is the producer of this film. This also largely determines the tone of the film.