Chapter 882 visual feast

“Clear blue sky, rich red desert, turbulent black smoke, sickly white skin, ugly yellow pustules, gloomy navy blue body, crazy orange explosion…all the bright and extreme, unassuming and wanton colors collide in the At the same time, it is like a catastrophe created by a painter who accidentally knocked over the paint tray. However, under Strelo’s delicate, ingenious, sharp and decisive lens, he has outlined a rich and colorful painting. Magnificent picture scroll, dedicated to the most wonderful, boldest, most outstanding, bravest, strangest, and best work in the past twenty years. In front of this work, any language is pale and powerless, so that I have There was a deep sense of powerlessness.”

This film review comes from Mick Lasalle, a professional film critic of the “Hollywood Reporter”. It is not the “New York Times”, nor the “Chicago Sun Times”, nor the “Variety Show”. The “Hollywood Reporter”, so that when this film review was released, it fell through everyone’s glasses.

At the beginning of the chapter, Mick was not stingy with his praise, clearly expressing his unswerving position.

“Before writing this film review, I sat in front of the computer in a daze for a full hour, because there was so much information in my brain that I had to spend some time slowly digesting, sorting out my thoughts, and carefully Reminiscing about every detail and every picture in the work “Fury Road”, everything is so blurry, but so clear. This kind of contradictory madness made me go to the cinema again to watch the movie for the second time. Impulse. This is the first time since Godfrey-Regio’s “Unbalanced Life” in 1983, I feel the power of lens language and the richness of film art.”

As you can imagine, it was difficult for Mick to write this film review. Before this, the West Bank media forces have almost never given Lance a good face, even the “Borrowing a Knife Killer” led by Tom Cruise, but this time, the situation has reversed, and you can feel it between the lines. Mick’s tangled and careful.

“As a director, Strelo has shown his own unique ideas in camera language-maybe not all of them are so pleasing, but it is undeniable that the mise-en-scène of ‘City of God’, the use of light in ‘Murder with a Borrower’,’ The use of color in “Sin City” has left a deep impression on people. This time, Strelo has brought the live special effects to the extreme and created a work with a sharp style. What’s more special is that almost Each shot has been ingeniously composed, not only showing the relationship between the characters, but also giving psychological hints to the heart of the plot, venting the shock of the lens language layer by layer, layer by layer, so that the audience Truly a treat.

There is such a picture in the movie, the heroine Felosa sits kneeling on the boundless desert, the sunset is like blood, the breeze is gentle, and the dust is billowing. Her artificial limbs are left behind, leaving deep and shallow footprints. But it was soon covered by the blowing sand, and the azure sky was as clear as if you could touch it with your hand, but it was far away from the hazy halo, and it was so empty that Ferosa looked extremely small. Firosha raised her head to the sky and howled, completely venting out all the emotions in her heart.

But such a simple picture has become the most beautiful, magnificent and shocking scene in 2006.

The sadness, despair and pain revealed in Firoza’s roar are undoubtedly the first layer of information received by the audience.

After careful observation, it can be noticed that Firosha’s armor is stained with blood, her cheeks are also covered with scars, her prosthetic limbs are thrown weakly on the desert, and they are almost buried, so that the audience can feel Firosha’s heart The heavy and lonely, scarred and staggering long-distance trek, originally thought to reach the end, but was told that the end has disappeared, that dazed and lonely is the second layer of information received by the audience.

The sky is high and far away, the desert is long and treacherous, the red desert rolls in like fine white waves with the breeze blowing, the tranquility revealed in the chaos has a thrilling beauty, but there is something hidden behind this magnificence , but the hardships and pains of the last days, no water, no food, no weapons, no companions… and no hope. The mighty silence makes the audience’s heart sink slowly. This kind of powerless struggle in the drowning state swallows up the breath little by little. This kind of vastness and magnificence is the third layer of information that the audience receives.

However, this is not the end.

After watching the movie, when I think about it carefully, I can deeply feel the low and difficult status of women in the background of the end of the world. Felosa has gone through all kinds of difficulties and dangers to fight her way out, but she still can’t find any. Export, it seems that there is no choice but to become a man’s accessory. The disappearance of freedom, the destruction of human rights, the bleakness of vitality… and the annihilation of hope, the chaos of order and the loss of morality, this is the most terrifying place in the end of the wasteland. This is the fourth layer of information.

Just for this one shot, one picture, Strelo used the collision of colors, the structure of space, and the contrast of light to the extreme, and after inspiring the most realistic and explosive performances of the actors, he completed the narrative of the whole story. Strelow has truly evolved the film lens into an artistic language, presenting the depth and breadth of thought without lines, actions, or even redundant editing and camera positions.

This skill reminds me of Stanley Kubrick. ”

Unbelievably, Mick put Lance at the height of Stanley, a true film master, a master director recognized by countless film critics. It can be said that every work of Stanley’s directorial career is worthy of being recorded in history, even the unsatisfactory “Eyes Wide Shut” at the end of his career is far beyond the average level of many directors. But now, Mick, a representative of West Bank film critics, has put the two people on the same level for discussion. This is not only unbelievable, but also earth-shattering.

However, this is not the end.

“What makes Strelow more admirable than Kubrick is that the combination of artistic lens and commercial elements makes his works find a balance between elegance and popularity, and truly makes art become Everyone can understand, everyone will have a different understanding of the work.

The whole work of “Fury Road” Strelow insisted on shooting on location in Namibia, which also created the most magnificent, magnificent, unique and dangerous work in the history of film.

In the tornado of the sandstorm, it seems to be on another planet, the roaring punk armored locomotive, amidst the rock roar of the guitarist in red, brutally killing like Ben-Hur, flaming explosions, fragmented collisions , bayonet red fights, **** tearing, tumbling and burning cars are like fleeting stars; The fanatical sons of war are not afraid of death, shouting “witness me”, spraying silver paint, seeing death as home, and perishing together; burning flames and splattered blood interweave into a magnificent picture scroll, gracefully flying in the boundless desert Red, yellow, black, blue, white, each color is as gorgeous as fireworks, eerie and cold-bloodedly intertwined, as if a little wind and grass can kill life; the chasing battle of life and death struggle In the novel, there is no superhuman ability to fly over the wall, no aura of the protagonist who survives catastrophe, and completely relies on this/ability to fight, with punches to the flesh, deadly moves, and hot guns…

All of them, in the sharp and crisp editing, cooked an unforgettable gluttonous feast, mixing all barren cruelty, despair, anger, metal explosions, and endless pursuits under the style of steampunk, from simple The composition of the film screen has evolved into a thrilling escape and massacre.

Strelo captured this blood and fire contest with a sense of grandeur and wildness like an oil painting. Only Strelo can capture the aesthetic and artistic temperament of cult-style steampunk; Only Strelo can capture the majesty and magnificence that makes people want to be in it.

When “Sin City” opened, everyone marveled at Strelow’s reinterpretation of the violent aesthetic, leaving Quentin Tarantino’s “Kill Bill” far behind. But after “Fury Road” came out, no one dared to talk about the aesthetics of violence in front of Strelo.

The rough texture that pervades the lens~www.readmtl.com~ can’t be simulated by green screen shooting and computer special effects. Tragic and poignant. There is no right or wrong, only survival, even the so-called justice and evil, they are desperately fighting to survive; there is no hesitation, only violence, no reason, only madness, no morality, only life and death, that share is purely through the lens Show it out, the beauty is soul-stirring.

Bold, crazy, wise, calm, arrogant, wanton.

This is ‘Fury Road’, this is also Lancelot Strelo, only Strelo can create this work, and only Strelo can dedicate such a visual feast, unique, A feast like no other. In front of this work, all other works in this year’s summer file are eclipsed. This is not only the most magnificent and exciting work in 2006, but also the most outstanding work since 2000, and even another work that changed the course of commercial films since “Jaws”.

In the Q&A session after the premiere, a man stood up, so excited that he couldn’t control himself, and asked excitedly, “Lance, may I ask how the scene where Ferosa drove into the sandstorm was filmed on the spot?” ? ’ The man who asked the question, his name is Quentin Tarantino. ” (To be continued.) Enable new URL