Chapter 214

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once there was a saying in Murphy's life, where there were people, there were rivers and lakes, and the circle of professional film critics was no exception. With the title of Pulitzer Prize winner, Roger Abbott's influence among film critics was truly unparalleled, but it didn't mean that other film critics would act according to his face, just like Roger Abbott didn't like some films So, Kenneth Turan doesn't like Roger Albert.

The dispute between the two people comes from their different ideas. It's most difficult to eliminate such differences. Many people in the front hall pay attention to them, while Murphy follows bill rosis's advice and keeps away from them.

There is no need for him to agree with or oppose any party, and there is no need for him to participate in it.

"They're all so old"

I don't know when Gail gado came back to Murphy, "he's still so hot tempered"

"they have different ideas, but they insist on their own opinions," Murphy looked at her and said, "they have to earn a lot."

Galgado's eyes turned, "whose opinion do you agree with"

"no one agrees with" Murphy answered without hesitation.

"No position." Gelgado blurted out.

"It's not that I don't have a position," Murphy said, looking at Kenneth Turan and Roger Abbott, who were still debating excitedly. "It's my view and position that are different from them."

Galgado immediately asked curiously, "your point of view"

"I'll tell you later," Murphy looked at his watch and reached for galgado's hand. "Let's go into the cinema."

"Hey, what are you going to do"

while he was talking, Gail gado earned his hand. Seeing that some people around him looked at him, he raised his hand and held his arm. Murphy shook his head and led her into the cinema.

After paying attention to the dispute between Roger Abbott and Kenneth Turan, Murphy came in late and went to the front row. Robert Downey, James Franco, Seth Logan, Jonah hill, Jessica Simpson and Jessica Alba were all here.

Next to James Franco, there are two empty seats. Murphy brings Gail gado here.

"This" Gail gado looked around, all the crew members, "I'm not very good sitting here."

Murphy pointed to the seat. "It's for you. Other people have company."

Galgado looked around. It was true that, as Murphy said, Jessica Simpson and Robert Downey Jr. were sitting next to each other.

"Thank you." Galgado smiles at Murphy and sits down with her.

As soon as Murphy sat down, James Franco next to him came up with a very low voice and said, "it's very fast. Have you got it?"

pretending not to hear what James Franco said, Murphy pointed to the big screen and said, "don't talk. The show is about to start."

Sitting in the middle of so many people, especially with curious eyes from time to time, Gail gado was somewhat uncomfortable.

Murphy patted her arm gently. Gail gado turned to smile. I don't know why. Seeing the caring expression on Murphy's face, my heart suddenly settled down.

Outside the theater, after Harvey Weinstein's timely intervention, the debate between Roger Albert and Kenneth Turan is over, and they also enter the theater.

For fear of another quarrel, Harvey Weinstein specially arranged for the two guys to sit far away from each other, and Roger Albert just sat next to Jennifer Mona.

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

"Jennifer Mona, a vanity fair reporter."

At this point, the movie hall suddenly darkened, the big screen lit up, and the show officially began. All the people who discussed ended their conversation and focused on the big screen.

The picture is different from the popular movies nowadays, no matter in color or light and shade.

in the dark, an open car is driving fast on the road, and the person on 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 at a closer look, it's different from black-and-white movie, it's not a black-and-white movie The black in his face is more intense, and the white is more dazzling.

at the moment of seeing the picture, Roger Albert forgot the reporter beside him, and drew a strong personal style into the sky. In his eyes, it's even more comfortable than eating an ice cream in the hot sun of Los Angeles.

he has seen comics, which is the style of comics, but how can the carrier of comics follow him Compared with the strong contrast on the screen, comic books are just dregs.

indeed, Frank Miller endows the city of sin with the soul, but Roger Abbott knows that a movie is not a comic book. No matter how good a comic book wants to become a movie, it requires the director to have profound skills, not to mention such a comic book.

Obviously, Murphy Stanton not only reproduces the style of comics, but also makes the unique style of comics more unique and fiery. If the original comics are as comfortable as the winter sun in New York, the current film is just the sunshine of Los Angeles in June, which can't be ignored by anyoneAt the beginning of the film, Robert Downey Jr. plays Hardy to rescue Nancy, because Sienna Miller and James Franco both play important roles in the positive film, and Murphy does not put the experimental short film into the positive film.

Quentin Tarantino, accompanied by Harvey Weinstein, watched this film with a strong personal style like his own. When he saw Nancy, a stripper, on the stage, he couldn't help admiring her.

"Murphy is too good at playing. The picture of the film is really comic style, but it contains the director's distinct personal concept."

As he continued to look down, he found that Murphy was actually making the film with comic as the blueprint and keynote, and basically followed the style of comic, but the lens of the film was more intuitive and exciting than Frank Miller's comic.

Up to now, the story scenes are mainly black, white and gray.

In order to enhance the visual stimulation, Murphy obviously weakens the important gray in the cartoon as far as possible and replaces it with black. It is not difficult for Quentin to find that the appearance of gray and white is just to let the audience clearly distinguish the dead black, so as to create this dark and evil city.

The only colorful scene in the film appears at the end of the story of "sniping". The girls in the old city stand on the tall buildings and kill the invading mobs in the street.

At this moment, black, white and gray still dominate the big screen, while the sky behind the girl is dyed red with bright and dark lightning.

The dark red night sky appropriately sets off the bloody streets on the ground, which metaphors the sound and tragedy of the Holocaust.

"The extreme conceptualization of color application in the story scene not only implies the sharp social contradictions and fragile social order, but also reveals the simple and crude survival rules of the city of crime, which is highly consistent with the violence theme of the film."

Todd McCarthy wrote this paragraph in his notebook with his pen.

He thought of violence aesthetics from this film.

The mainstream value of positive goodness is the beacon of the development of human society, which makes the fresh life get priceless freedom under the moral constraints of truth, goodness and beauty; and the bottom line of the audience's psychological tolerance determines the realistic degree of bloody violence and the form of aesthetic art in the film. The two are related to each other and work together to draw a red line for the visual forbidden zone of violent aesthetic films.

Appreciating the beauty of violence in movies and obtaining stimulating aesthetic experience reflect people's desire for spiritual freedom. However, Todd McCarthy knows that it can never surpass the mainstream values of society and get involved in the visual forbidden area of violence aesthetics.

It is not difficult to see from the city of sin that the excellent aesthetics of violence must be built on the highly artistic visual language. What Murphy Stanton uses is an art form in line with the mainstream values of society.

The film seems violent and bloody. The young director obviously knows how to restrain and control. He doesn't simply pursue sensory stimulation to overstep the psychological bottom line of the public.

Those paranoid realistic bloody violence scenes, even if it will bring a strong visual experience, but it will also make people have a disgusting sense of guilt.

This kind of film preaches the extreme violence of nudity, is the disregard of life and the blasphemy of freedom, has no aesthetic feeling to speak of, makes the audience hard to accept, and will eventually become a visual pollution.

The city of sin is definitely not in this line. Director Murphy Stanton's handling of violent scenes is extremely ingenious, which makes violence and aesthetics almost perfectly integrated.

As the show draws to a close, Todd McCarthy has confirmed that Murphy Stanton not only reproduces Frank Miller's classic cartoons on the screen, but also pushes forward a lot by combining strong personal style and violence with aesthetics on the basis of cartoons

on the other hand, Kenneth Turan suddenly laughs, because he finds that Murphy Stanton is definitely not Luo Like his previous works, this film has a strong personal style, but it is not difficult to find that the independent director is quietly moving towards the mainstream film circle with the ideas reflected in many scenes.

The high-speed slow motion pictures with flaunting skills, well-designed action scenes, and beautiful and sexy female characters

there are too many necessary passages in Hollywood blockbuster movies, which are not available in the original comic books.

If such a director, will be a die hard independent film and personal style of director, he would rather believe that God will come to the world tomorrow.

Roger Abbott's idea is different from his. The color, performance and monologue of this film, of course, can also be regarded as the ring structure, which is different from any previous cartoon film. Only the application of color is enough to make director Murphy Stanton in the history of film. It's not finished yet.