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Foreword: Wim Wenders' new work "The Beautiful Days of Aranjuez", known as the "Eye of the New German Cinema", is already in the preparatory stage, and after the production is completed, it has been shortlisted for the main competition section of this year's Venice Film Festival and participated in the Golden Lion Award. Written by Peter Handke, who collaborated with Wenders on Under the Berlin Sky, the film tells the story of a man and a woman sharing their views on life and death in a garden on a summer evening, and the technical 3D processing also creates new possibilities for multi-text leperay films.
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The last time Wenders was associated with Venice was in 2008, when he, as chairman of the jury, handed over the flying golden lion to Darrenovsky's Wrestler, and the first time was twelve years ago, when "Lost Angels" won the main competition unit.
Wim Wenders, one of the four masters of the "New German Cinema"
This year, Wenders came here again with this play with old friends, Peter Handke, Nick Cave, plus the "3D" annotation after the title, which has long been reminiscent. Due to technical limitations, the screening was divided into English subtitles and Italian subtitles; many viewers did not understand the number of scenes at all, and complained by applauding - in fact, it was completely unnecessary, because even those who were familiar with English, French, German, and Italian would still fall into handk's language trap; closed scenes, the language of the rotating camera accelerated this fall.
What's more, the 3D glasses that people received before the screening became a complete burden on the bridge of the nose, which is probably the first time that most people did not see the explosion of the camera after the 3D glasses, accompanied by the particles of upgrading processing; replaced by typewriters, jukeboxes, apples and trees, the biggest scene is the empty Champs Elysées, and the most intense action scene - the writer chopping wood.
Like the theatrical version, the film has the simplest prop display, an almost completely enclosed scene. Writer and nameless man and woman, a gardener and a dog who stumbled in. The film also does not forget to satirize the simple and crude sensory stimulation of action movies, and the two people discuss whether there will be a helicopter - when the helicopter does appear at the end (only the sound is reflected), the man runs to the grass, and the woman says: "Shouldn't we just talk, no action?" "
Why would a drama that looks so dull and minimalist on the surface be shot in 3D? After the end of the show, people whispered, is it because the budget is too high to spend it? But in fact, the film's budget was not high, and the shooting was less than a month, and Benoa Derby, who had been filming in Gaspar Noir's 3D film "Love", participated in the filming of an old house on the outskirts of Paris. In recent years, Wenders has been fascinated by the "natural depth of field" brought about by 3D technology, and he believes that this "natural depth of field" can convey more visual information and emotions than the plane, and this is not his first 3D film.
Sometimes the title of the film is like a riddle, which requires the audience to integrate into the plot to crack it layer by layer. The title and original title of "The Good Days of Aranjuez" comes from the first sentence of the scene description of the first act of Schiller's historical tragedy Don Carlos - "In Aranjuez's palace, the weather is good". Handke also borrowed the tone of a man to express his travel feelings at the old site of the palace. There are also some interesting details: every time the writer nervously changes his mind, the woman's costume is changed once, which is very intriguing.
The woman in the film is Handke's wife Sophie Thurman, who has many years of experience in stage drama, and her performance in the film is fascinating; the male protagonist Reda Kateb's interpretation is more of a stage play component; and Handke himself plays the gardener in the film, appearing for only a few seconds, giving the story an extra layer of intriguing - when the woman talks about the loneliness of love, her eyes fall on the unremarkable gardener - the two are lovers for 24 years in real life. This, in turn, reconstructs an ingenious dimension for storytelling.
I am afraid that the most touching thing is the woman's depiction of the new world. She recounts the nine elements of the New World, how raindrops fall on two naked bodies, while the man murmurs "time becomes spiritual flesh." And some of the metaphorical passages with a strong sense of form and a smile on the face of laughter reveal Handke's stubbornness - "I am the queen of the warm bed, I am the queen of haircuts, I am the queen of dishwashing, I am the queen of walking the dog, I am the queen of stealing fruit, I am the queen of reading aloud in the garden... I am the woman of my imagination, and my desire never fades. "The spate of words carries an aggressive sense of cuteness, which is perhaps the most vivid interpretation of post-feminism."
Love sex, men and women, the universe, time, from sexual experience to the cultivation of wild strawberries, from depicting plants to oral travelogues, in a corner of the garden can be all-encompassing, and probably only Handke and Wenders, and their friendship known for many years can form a magical reaction - they choose to erase the strong inductive and absurd small-scale drama explosion of the original play in the image, replaced by the murmurs of love and gentle quarrels of two ambiguous people, and Wenders' free and free state is fully integrated into The rhyme of Handke's words.
Music once again plays an important role in Wenders' films, with Lou Reed's Perfect Day ringing out, "Gothic Prince" Nick singing on the porch without warning and then disappearing without any connection, a few old intimate songs languidly playing on a summer afternoon, and Paris swaying in the steaming air in the distance.
It is obviously inappropriate to say that such a calm, affectionate, and intimate work is a masterpiece of the world, but for Wenders, whose works are equal to his body, he still made a work that is appropriate for art, stage, age, career, friendship, and music, and is also mixed with commensurate willfulness and stubbornness. Handke, who was obsessed with words and words, once again told us through the image: although love has no men and women, no kings and no queens, in the Middle Ages, love was a negative word. C