Prince Charming, with a sunny smile and bronze skin, wrapped his arms around the long-haired Snow White with one arm, grabbed the vines with the other, and flew over the bad guy's head with ease, grabbing the lost treasure... Romantic adventure movies, once one of the most popular genres of action movies in the 80s. Sandrabrak and Channingtartu's "Lost City" is a nod to 80s classics like "The Emerald" or "Treasure of the Nile," but in fact it does a bolder homage: digging out the bones of dead people from ancient legends, and re-gluing new flesh and blood to each bone.
Sandrabrak plays the kidnapped romantic novelist Lolita, and coincidentally, Catherine Turner also plays a novelist in the 1984 romantic adventure film The Emerald. You can even see the name of Lolita's book-reading meeting, which is "Romantic Pen", which corresponds to the original title of "Emerald", "Romantic Stone". It's not a coincidence, it's deliberate subversion. The heroine of "The Lost City" is not a novelist who expects a real adventure but can only be trapped in front of the computer, she is a novelist who has ventured, written a large number of adventure novels, and finally exhausted the last drop of romance in her heart.
Now 58 years old, Sandra Braque's beloved character is a especially ironic contrast in a genre of romantic movies that have been forgotten in the 21st century. And this is the most interesting part of the opening of "The Lost City", the novelist who is familiar with the romance routine, deletes the romantic routine elements in her mind one by one, and in turn questions the convenient arrangements that the audience is familiar with and loves, Andsa Bluck still shows the look of life that is better than death in the face of the eager welcome of the romance book fans - if Sandra's tombstone is to engrave her most famous expression, one of them is definitely rolling his eyes.
The heroine, who is insulated from love, meets Snow White, who fantasizes about becoming Prince Charming: a generation of male gods Chanin Tatu, playing a non-combat cover model. He was anxious to rescue the novelist who did not value him, but could not think of any plan. He can't race, he can't shoot, he can't make his opponent's brain hypoxic unconscious for three seconds. Tatoo, who has played the male protagonist of the adrenaline-pumping movie "Amazing Crisis" and "Special Forces", this time plays a "powerless" Prince Charming, causing a great contrast. However, the prince, who seems to have no power to bind the chicken, remembers to prepare a new pair of shoes for the heroine of the fallen, remembers to bring her a hammock, and is willing to use his head to climb all the way up the mountain wall with her.
The romantic adventure action movie of the macho man saving the beautiful woman, in this era of emphasizing gender equality, seems doomed to wither. Sandra Brack didn't want to revive the long-lost masculinity on the big screen with Lost City. Instead, her new partner with Tatoo's strong and weak woman subverts all elements of a romantic adventure movie where male heroes reign supreme. But "The Lost City" doesn't simply make Sandra a "woman" — she's not playing a male lead who's just missing a chicken, she's still a female protagonist who doesn't "try to overwhelm the other side at length" like a man.
Many of the genre films of the last century have to undergo the baptism of political correctness in this century – even Scream is not exempt. Interestingly, The Lost City is probably the least awkward of the transitions. Although it breaks the past "women need male rescue" and "male protagonists inexplicably fall in love with female protagonists", "Lost City" is not opposed to love, does not oppose the possibility of growing old with white heads, it only reminds the audience that in this era, you do not need to be strong in love because you are a man; nor do you need to be doomed to pay for a lifetime without regret because you are a woman.
True equality means more flexible interactions, where you are in charge of the big things, and occasionally you can listen to the escape plans I designed; he may not have the arm strength to beat the bad guys, but he can provide an arm for your life. The era of male and female protagonists has passed, and now we should think about how to find out the most satisfactory "life position" of both parties and find the greatest common divisor of mutual fit.
Seriously, romantic adventure action movies are far, far from us. Emerald and The Jewel of the Nile in the '80s; The Mummy in the '90s; Gold Rushers in 2008; and Prince of Persia: Blade of Time in 2010 are barely half (and it's not a good quality). For a new generation of viewers, it may be difficult for them to appreciate the subversive effect of Brad Pitt's appearance in The Lost City: Peter is as brave as Indiana Jones and Brandon Fisher, and sees Sandra Braque who kills Buddha, and that is the stereotype of the character that the film wants to subvert. (Today's headlines: Film critic Mtalk)
Romantic comedy movies have been almost dead for the past decade, and we have to become zombies ("Warm Corpse"), become time travelers ("Time Traveler"), and even become lobsters ("Lobsters") to find true love (but eighty percent of them have to pay a lot of sacrifices, or may lose in an instant). This year's "Superstar Marry" is clearly a brave challenge to retro (but not favored by the audience), while "The Lost City" takes a different approach, revolutionizing those rigid old-fashioned values, giving the male and female protagonists the best reason to fall in love, and the best reason to take risks, which is perhaps the right way to revive romantic comedy. Text/Totoro King