I still remember revisiting the movie "Titanic", obsessed with the once-in-a-lifetime fate of the male and female protagonists Jack and Lucy, and lamenting the trials and tribulations of impermanent things to love. An old ten-year-old movie, August Rush, found that the plot of the film is quite similar to the love story in "Titanic", and the music in these two films plays an indispensable role in advancing the plot and presenting the characters. In the eyes of many people, the plot of "August Mystery" is not outstanding. Both of the film's protagonists are musicians: Louise is a wandering Irish singer, and Lyra, the heroine, is a well-trained cellist. The two met on a moonlit night and fell in love at first sight. After a romantic night, Lyra leaves in a hurry at dawn, afraid of facing her harsh father's questioning; Louis waits for the next date and is disappointed to leave, and since then, the two have been separated.
In fact, Lyra did not go to the appointment as scheduled, not because she did not want to, but because she found out that she was pregnant with Louis's child, and her father ordered her to beat up the child in her belly, forget the dew love affair, and resume the life of a musician on stage. Just as the contradictions erupt, the plot becomes more and more "dog bloody": Lyra lost her fetus in a car accident and was told that the child was still alive when she was disheartened. More than a decade later, while she is still looking around for children she has never met, this musically gifted little boy is also trying to help her separated parents find their lost love. At the end of the play is a concert in New York, the little boy directs his own composed repertoire on stage, and offstage, his parents are finally reunited after years of misunderstanding and regret...
This is a decent tear-jerking blockbuster, with all the elements in place, and according to the plot, there are not too many points to lose, but there are not enough memorable clips. Without the excellent acting skills of the two high-value actors, Meyers and Russel, and the free play of the popular child star Hammer, this film may be reduced to a chicken soup movie, providing an emotional outlet for viewers who are trapped in ordinary life and long for romantic love. The director's cleverness is that he knows that the script is not deep enough and rich, so he spends a little more time on the music, especially the two songs "Bach/Break" and "Elgar/Something Inside" that combine different elements of classical, pop and rock.
The structure of the two songs is very similar, both are introduced by classical music to pop and rock repertoire: Bach/Break begins as a prelude to Bach's cello suite No. 3 in E major, followed by a subtle and almost inaudible transposition to the male protagonist's own surging and exciting style of "Break"; the other is the well-known cello concerto by the British composer Elgarna, which leads to "Something Inside", which is also sung by the male protagonist himself. The composer cleverly "collages" two works with completely different contexts into the same work, but there is no sense of violation. Such an innovative move, on the one hand, finds a fresh direction for the creation of film music that few people try, and also hints at the plot and character identity.
Elgar and pop, Bach and rock, cello and electric guitar, dignified classical musicians and unrestrained rock musicians... These seemingly unrelated things, placed in the same situation by the director and the film music composer, do not also hint at the truth that the film wants to tell the viewer: love never pays attention to logic or convention, does not know what to do, and always goes deeper. Who would have thought that the time when the moonlight looked at each other many years ago would connect two people who could hardly have intersected, and it would be difficult to let go of their thoughts for half a lifetime?