Wen | go long bow
At the 91st Academy Awards, three films that have written musical life have accounted for half of the country, including "Bohemian Rhapsody", which won the Best Actor Award, "Green Book" for Best Picture, and "A Star Is Born", which won the Best Original Song Award. Since Warner's Jazz King in 1927, when film entered the age of sound, music and cinema have been inseparable. Actors have achieved career brilliance through the interpretation of musical celebrities, and more famous singers have dabbled in the screen, extending starlight to the film world. Early musical biopics were mostly by classical musicians, such as the 1937 French director Abel Gunns's Biography of Beethoven, the 1938 MGM biopic of Johann Strauss, and the 1984 Biography of Mozart by Milos Foreman. Compared to the serious and solemn classical music, the colorful modern musician biopic reflects the radical changes in the 20th century.
Stills from "A Star Is Born"
In 1991, rock and roll enthusiast Oliver Stone made "The Gate", the protagonist of the Representative of American psychedelic rock - "The Gate" lead singer Jim Morrison. Morrison saw a car accident on the road as a child, and witnessing death prematurely gave him a different understanding of life. During college, the formation of the "Gate" band gradually became popular. Like the name of psychedelic rock, Morrison's life was filled with drugs, alcohol and sex, and he sang the lyrics of "Father and Mother" on stage unconsciously and naked, and was imprisoned many times. In 1971, at the age of 27, Morrison died in a bathtub, ending a life of horror. The film opens a door for the audience to see through the cultural spirit of the 1960s and 1970s: it was a turbulent and turbulent era, a cloud of the Cold War hovering over the ruins of the post-war spirit, a broken break with the world by the Beat generation, and a spiritual utopia in search of the hallucinogenic effects of drugs. The rock concert in the film is like a religious ceremony of the Indians, and the audience dances and twists without any clothes, releasing their instincts and returning to basics in the confusion. On the other side of the stage are the policemen who are waiting in a tight line, ready to take away fans and interrupt the performance. In the film, Morrison said: "The door is the door of perception rather than the door of the mind", he rebels against all systems, laws, and morals with music, breaks the shackles of reality with a rebellious posture, and finally abandons matter and reason, and leads to the eternal door of freedom in psychedelicism.
Stills from Velvet Goldmine
Rock and roll came from the 1960s, and by the 1970s, love and peace were left with empty slogans, socialism and sexual freedom could not arouse interest, skepticism prevailed, and popular political participation cooled, so glam rock began. Gorgeous rock didn't have much of a breakthrough in thinking, style was all there was, and gender issues became the new point of rebellion. Directed by Todd Hines in 1998, The Velvet Gold Mine features Brad Slade, who is based on David Bowie, a british rock icon. In the film, Slade originally had long hair, played and sang with a guitar, and fell in love with him after seeing the performance of American rock star Kurt Wilder at the music festival. Inspired by fanatical same-sex love, Slade was completely released, and he applied eyeshadow hairspray, changed into a tight sequin suit, and made a glamorous appearance on stage. The indistinguishable beauty and seductive narcissistic songs of male and female poured into the world, London embraced more colors than rainbows overnight, and young people faded the bohemian style and changed into colorful and colorful costumes, declaring that they could love any gender. The film uses the investigation of newspaper reporter Arthur to string together the story, and now he is also a believer in gorgeous rock and roll in a suit and tie, hiding in the house to listen to records, carefully avoiding his parents, and changing into gorgeous costumes in front of his home to walk into the crowd. Rock and roll is accompanied by the sexual awakening of teenagers, dangerous and sweet. Wilde's emeralds are also used as props to find the spiritual source for music that pursues sensual beauty - don't care about moral dogma, beauty is everything, just enjoy youth, and stay in beauty. At the end of the film, Slade has become a popular singer, and the lover who has broken up, Wilder, says sadly, "We were going to change the world, but we only changed ourselves." Gone are the days of glam rock, like a spring dream remembered in middle age.
Stills from "Sid and Nancy"
Rock 'n' roll is born with a rebellious birthmark, the stage is a fierce drum beat, a noisy electric guitar and a crazy roar, the musicians dress up differently, life is unruly, and under the appearance of crazy extremes is the purity ideal that transcends the world. 1986's Sid and Nancy is based on the story of Sid Vesches, bassist of the Sex Pistols. Sid is a shaved, skinny punk singer, and Nancy is a "fleshy skin" dressed in heavy makeup. After the two fall in love, Nancy's drug addiction affects Sid's musical career, but Sid refuses to give up on her lover, preferring to accompany her to the fall. Two marginalized people abandoned by their families and society, the despair of love is not reversed. Britain is in the background of an economic depression, with ruined streets littered with garbage and anarchic slogans and anti-war symbols painted on the walls. Sid hated the snobbishness of his agent and the falsity of other rock stars, he didn't want the audience to like it at all, and despised fame and fortune. Nancy refuses without even thinking about the temptation of the record company owner to leave Sid and give her a house, forcing the audience to re-examine the two spurned poisoners. They are like two simple foolish children, living too really, incompatible with everything about reality. Their love is like a flower in filth, fragile and precious. At the end of the film, in 1978, the two committed suicide together in Room 100 of the Chelsea Hotel on West Street in New York, Nancy died, and Sid died of a drug overdose at the age of 22, and fans saw him as the ultimate manifestation of the punk spirit, refusing to be assimilated and remaining in his youth.