Hollywood Road

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There used to be a saying in the place where Murphy lived, where there are people, there are rivers and lakes, and the circle of professional film critics is no exception. With the title of Pulitzer Prize winner, Roger Ebert has no influence among film critics. Can be compared, but it does not mean that other film critics will act according to his face, just like Roger Ebert despised some movies, Kenneth Turan also despised Roger Ebert.

The dispute between the two people sounds like they have different ideas, and such differences are the most difficult to eliminate. Many people in the front hall looked at them with concern, but Murphy listened to Bill Rossi's advice and stayed away from them.

He doesn't have to agree with or against either side, and he doesn't have to be a part of it at all.

"They're all that old,"

At some point, Gal Gadot returned to Murphy, "He's still so hot-tempered!"

"The two have different ideas, but they insist on their own opinions." Murphy turned to look at her, "We always have to make a difference."

Gal Gadot rolled his eyes, "Whose opinion do you agree with?"

"No one agrees!" Murphy replied without hesitation.

"No position." Gal Gadot blurted out.

"It's not that I don't have a position." Murphy crossed his arms and looked at Kenneth Turan and Roger Albert, who were still arguing excitedly. "My views and positions are different from theirs."

Gal Gadot immediately asked curiously, "Your opinion?"

"I'll tell you later," Murphy looked at his watch, and reached out to hold Gal Gadot's hand, "Let's go into the theater."

"Hey, what are you going to do?"

While speaking, Gal Gadot pulled out his hand, saw someone around him looking over, and raised his hand to hold his arm. Murphy shook his head unobtrusively, and led her into the theater.

Due to paying attention to the dispute between Roger Albert and Kenneth Turan, Murphy was considered a relatively late member of the crew, and walked to the front row. Robert Downey Jr., James Franco, Seth -The main cast and crew including Rogen, Jonah Hill, Jessica Simpson and Jessica Alba are all in attendance.

Next to James Franco, there were two empty seats, where Murphy brought Gal Gadot.

"This..." Gal Gadot looked around,

They are all members of the crew, "It's not good for me to sit here."

Murphy pointed to the seat, "This is specially prepared for you, and others also bring companions."

Gal Gadot turned his head and looked, and it was indeed as Murphy said, that Jessica Simpson and Robert Downey Jr. were sitting next to their male and female companions respectively.

"Thank you." Gal Gadot smiled at Murphy and sat down with Murphy.

As soon as Murphy sat down, James Franco next to him came over, his voice was extremely low, "The action is very fast, did you succeed?"

Pretending not to hear what James Franco said, Murphy pointed to the big screen, "Shut up, the screening is about to begin."

Sitting among so many people, especially when there are curious eyes looking over from time to time, Gal Gadot is somewhat uncomfortable.

Murphy patted her arm lightly, and Gal Gadot turned his head and smiled. For some reason, seeing the concerned expression on Murphy's face, his heart suddenly settled down.

Outside the auditorium, after Harvey Weinstein intervened at the right time, the debate between Roger Ebert and Kenneth Turan had ended, and they also walked into the auditorium.

Fearing that the two would quarrel again, Harvey Weinstein deliberately arranged for the two guys to sit at a place far apart, and Roger Ebert happened to sit next to Jennifer Mona.

"Hello, Mr. Albert." Jennifer Mona recognized him immediately, and Roger Albert asked suspiciously, "Are you?"

"Jennifer Moner, a full-time reporter for Vanity Fair."

Speaking of this, the theater suddenly went dark, the big screen was lit up, and the screening officially started. All the discussants ended their conversations, and all their attention was focused on the screen on the big screen.

The picture is different, whether it is color or chiaroscuro, it is different from popular movies today!

In the dense night, a convertible car is driving fast on the road, and the person in the car has a striking white cross scar on his forehead...

At first glance, it looks like an old-fashioned black and white movie, but on closer inspection, it is different from black and white movies. The black in the picture is more intense, and the white is more dazzling!

The moment he saw the picture, Roger Ebert forgot about the reporters next to him, and the strong personal style in the painting soared to the sky. In his eyes, it was like eating a meal under the scorching sun of Los Angeles. Ice cream is even more refreshing!

He has read comics, and comics have this style, but how can the carrier of comics be compared with movies? Under the contrasting picture style on the screen, the comics are almost reduced to scum...

It is true that Frank Miller gave "Sin City" its soul, but Roger Ebert knew that movies are not comics. No matter how good a comic is, if it wants to be turned into a movie, it requires the director to have a solid foundation, let alone such a movie. comics.

Obviously, Murphy Stanton not only reproduced the style of the comics, but also made the unique style of the comics more unique and fierce. If the original comics are as comfortable as the winter sun in New York, then now The film is simply the sunshine in Los Angeles in June, which is impossible for anyone to ignore!

At the beginning of the film, Hardy, played by Robert Downey Jr., went to rescue Nancy. Because Sienna Miller and James Franco both played important roles in the feature film, Murphy did not make the experimental short film Insert it into the main body of the video.

Quentin Tarantino accompanied Harvey Weinstein and watched this film with an extremely strong personal style like his own film. When he saw Nancy, a stripper, he couldn't help it There was a burst of admiration.

"Murphy, this guy is so good at playing. The screen of the film is indeed in the style of comics, but it contains the director's distinct personal philosophy."

He continued to look down, and found more and more that Murphy was indeed shooting this film with comics as the blueprint and keynote, and basically followed the style of comics, but made it more intuitive and exciting with the lens of movies than Frank Miller’s comics .

The film has progressed to the present, and the story scenes are basically dominated by three levels of black, white, and gray.

In order to enhance visual stimulation, Murphy obviously weakened the important gray in the comics as much as possible and replaced it with black; it is not difficult for Quentin to find that the appearance of gray and white is only to allow the audience to clearly distinguish the dead black. This shapes the dark city of sin.

The only colorful scene in the whole film appears at the end of the story "Sniper". The girls in the old city stand on the tall buildings and raise their guns to massacre the invading thugs in the street.

At this moment, black, white and gray dominated the big screen as usual, but the sky behind the girl was dyed blood red with the flickering lightning.

The dark red night sky perfectly reflects the blood-flowing streets on the ground, which is a metaphor for the smoothness and brutality of the massacre.

"The extremely conceptual color application in the story scene not only implies sharp social contradictions and fragile social order, but also reveals the simple and rough survival rules of Sin City, which highly fits the violent theme of the movie."

With the pen in Todd McCarthy's hand, he wrote such a paragraph in his notebook.

He was reminded of the aesthetics of violence by this movie.

The mainstream values ​​of being positive and kind are the guiding light for the development and prosperity of human society. It allows fresh life to obtain the priceless treasure-freedom under the moral constraints of truth, kindness and beauty; and the bottom line of the audience's psychological endurance determines the realism of the bloody and violent scenes in the movie. Degree and expression of aesthetic art. The two are interrelated and work together to draw a red line for the visual forbidden zone of violent aesthetic films.

Appreciating the violent beauty of movies and gaining a stimulating aesthetic experience reflects people's desire for spiritual freedom, but Todd McCarthy knows that it must not override the mainstream values ​​of society, and cannot set foot in the visual forbidden zone of violent aesthetics.

It is not difficult to see from "Sin City" that excellent aesthetics of violence must be based on a highly artistic visual language. Murphy Stanton uses an art form that conforms to the mainstream values ​​of society.

This film seems violent and bloody. The young director obviously knows restraint and control. He did not cross the psychological bottom line of the public simply for the sake of sensory stimulation.

Those paranoid, realistic, bloody and violent scenes, even though they will bring a strong visual experience, will definitely make people feel sick and guilty.

Such movies promote naked extreme violence, disregard for life and desecration of freedom. There is no aesthetic feeling at all, which makes it difficult for the audience to accept, and will eventually become visual pollution.

"Sin City" is definitely not in this category. Director Murphy Stanton's handling of violent scenes is extremely clever, making violence and aesthetics a near perfect blend.

The screening is coming to an end, and Todd McCarthy has confirmed that Murphy Stanton not only reproduced Frank Miller's classic comics on the screen, but also combined his strong personal style and the combination of violence and aesthetics on the basis of comics. Combination, and a big push forward!

On the other side, Kenneth Turan suddenly smiled, because he found that Murphy Stanton is definitely not the kind of director Roger Ebert said would stick to his personal style. This film is just like his previous films. The works are the same, and indeed the personal style is strong, but the ideas reflected in many of the scenes, it is not difficult to find that this independent film director is quietly moving closer to the mainstream film circle.

The high-speed slow motion showing off skills, well-designed action scenes, glamorous and sexy female characters...

There are too many bridges that are necessary for Hollywood blockbuster movies, but not in the original comics.

If such a director would be a director who insists on independent films and personal style, he would rather believe that God will come to the world tomorrow.

In the distance, Roger Ebert is different from his ideas. The color, performance, monologue, and of course the not-initiated circular structure of this film are what make this film different from any previous comic film. , the use of color alone is enough to put director Murphy Stanton in the annals of film history. (To be continued.)