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2019-08-29 16:01


My favorite part of the film is when DiCaprio finally reaches the lighthouse makes his way up the spiraling staircase to confront whatever he may at the top. It's essentially a visual summary of the movie, with DiCaprio running in circles and pausing at times to try to make sense of what he is seeing. It is especially interesting once you learn that the whole island was in on the act to try to bring him back to sanity. There was no way he could figure out what was going on with the government experiments because they didn't exist, but he continued to do it anyway. The stairs also represent DiCaprio's continual relapse into his fantasies, even after being briefly returned to sanity.
As I mentioned in my comments on Cape Fear, Scorsese must be a big fan of Alfred Hitchcock, because once again he pays homage to Hitchcock and his films in Shutter Island. He uses signatures of Hitchcock’s filmmaking such as subjective POV shots, geography shots, and use of misdirection. Scorsese uses Shutter Island as an opportunity to recreate famous shots out of Hitchcock’s entire filmography. During the famous shower scene in Psycho, there is a close-up shot looking directly up at the shower head that has its water spraying out at the camera lens. This shot is recreated as the first shot of Daniels taking a shower, right after Dr. Cawley tells him that he never had a partner. Daniels scaling down the cliff to get to the shoreline can be compared to the character Roger O. Thornhill scaling down Mount Rushmore in North by Northwest. The presence of the crowed of mouse on the cliff could be treated as a parody of Hitchcock's Bird. Vertigo is the by far the most influential of Hitchcock’s films to Scorsese and Shutter Island. Both films are an exercise and exploration of the mind, displaying the difficulty for disturbed minds to distinguish fact from fiction and reality from illusion. Daniels running up the spiral staircase of both Ward C and the lighthouse are just like the scenes in Vertigo where the character Scottie Fergusson runs up the spiral staircase of a church tower. The waves crashing on the shoreline of Shutter Island are also reminiscent of a scene in Vertigo. Scorsese even had his cast and crew watch Vertigo to get a feel of how he wanted Shutter Island to look stylistically. The list of Hitchcock references go on, I have just mentioned the films I have personally seen.
On the other hand, Scorsese goes beyond simple emulation and uses his full filmmaking repertoire to have Shutter Island deviate from standard Hollywood fare. He employs his usual freeze frames and slow motion, but also subtly uses reverse motion. When Daniels has a vision of a blood covered Rachel with 3 dead children at her feet, there are cuts to close-ups of Daniels smoking. These shots are played in reverse so the smoke is actually going into the cigarette instead of coming from it. Reverse motion is used again in a flashback/vision when Dolores walks backward away from the lake. Scorsese also uses intentional continuity errors to show Daniels fractured mind. This is displayed in a scene where Daniels is interrogating a woman. She is handed a glass of water, but when she drinks it she is not actually holding a glass. She then puts down an empty glass on the table, but when she leaves the glass is now half full. These are just a work on the variants. The creative uses of sound, cinematography, and lighting employed by Scorsese in Shutter Island haven't been touched for now. A further research on this film will be developed later this week.

If The Artist has any dimension or topical relevance whatsoever beyond its novelty and charm, it’s as a metaphor for the fear of technological

This movie explores two of my most interested topic recently--,possibilities and meaning. Time can not go back, but as long as you don't choose, everything remains possible. The boy's selection difficult disease lies in the his dedication of the possibilities . Even if he know all the end of the story and every consequence of his choose, he still couldn't make a decision. The director made his discussion about the possibility and meaning very straightforward,.for instance, Ana has a line in the movie: "For a long time, I gave up all possibilities for the only meaningful life,refused to have a relationship with anyone and live a life like the walking dead." But in the end the centenarians quote a poem by Tennessee Williams, "Everything could have been anything else.and it would have just as much meaning."After he finally made a choice, he said this is the best day in his life. It's a great thing to be able to witness this kind of development in a science fiction story. What 's even more interesting is that all the judgement about meaning actually lying in the belief :"Life is a playground, or nothing." with I couldn't agree more. But if the definition of meaning in life is based on that. What's the point of that choice?
Why Anna is invariable constant in all rich possibilities?It hard to explain .But I also have found the optimal solution and the constant in my life, I will sacrifice all other possibilities to achieve this.
Philosophical words ends here. the most interesting point of the movie is the combination of superstitious pigeon, butterfly effect, string theory, the universe to collapse theory, hypnosis, Rorschach etc ingenious ,to melting pot so many interesting things and to not appear abrupt is not an easy thing .and the popular about fear and love is also impressive. Both color spray irrigation and flashbacks photography is beautiful and creative .



Harvey Weinstein’s grip began to be felt when Undefeated won for best documentary, but into the homestretch, with only the four major awards to go, The Artist had only won two, scarcely undeserved Oscars, for costumes and score. But then the fist came down, and, yet again, it was all-Harvey time — with Meryl Streep winning, yet again, for The Iron Lady and The Artist taking director, actor and picture. Michel Hazanavicius thanked the late, multi-Oscar winner Billy Wilder three times, presumably for helping provide the inspiration for revisiting the days of silent cinema, even if Wilder never directed a silent film.

Would the mordant, caustic and verbally brilliant Wilder have voted for The Artist? It’s impossible to say, of course, but his own view of another fictional casualty of talking pictures, Norma Desmond in Sunset Boulevard, was considerably darker than even the bleakest moments experienced by George Valentin’s washed-up silent movie hero. With perhaps one exception, Wilder never made anything as lightweight or ephemeral as The Artist.

Perhaps because there was no overwhelmingly great film this year or, alternatively, a huge popular favorite, Academy voters did the best they thought they could do by honoring The Artist. But I have little doubt that, even a year from now, people will look back and wonder why. It’ll be the way people now puzzle about how Crash could have won, or Driving Miss Daisy, Rocky or Oliver! And, I’m afraid, there are those of us even now who are putting Jean Dujardin’s Oscar win for best actor in the same bag with that of Roberto Begnini’s in Life Is Beautiful. In other words: How the hell did that happen?

If The Artist has any dimension or topical relevance whatsoever beyond its novelty and charm, it’s as a metaphor for the fear of technological advance; Valentin’s refusal to change with the times can easily be interpreted as standing for the old guard’s discomfort with the new ways of making cinema it doesn’t understand, or doesn’t want to. Seen through this particular lens, Martin Scorsese’s Hugo, which also won five Oscars, would have been the more adventurous Oscar choice, simply because Scorsese — who, like it or not, is definitely part of the old guard now — paradoxically employed all manner of new (and expensive) technology in creating his infinitely more ambitious and complex exploration of the world of silent cinema. If only Marty had brought his film in at two hours or less …

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Ben Kingsley ("Gandhi", "Schindler's List","House of Sand and Fogs")扮演的医生每笑一次,都透着威胁和恐吓。

大牌明星来跑龙套, Michelle Williams,Jackie Earle Haley,Emily Mortimer(as Rachel #1),Patricia Clarkson(as Rachel #2)。

Roger Ebert 关于本片与希区柯克经典《晕眩》("Vertigo")之间相似处有一段精妙描述:

“Another film Scorsese showed his cast was Hitchcock's "Vertigo," and we sense echoes of its hero's fear of heights. There's the possibility that the escaped woman might be lurking in a cave on a cliff, or hiding in a lighthouse. Both involve hazardous terrain to negotiate, above vertiginous falls to waves pounding on the rocks below. A possible hurricane is approaching. Light leaks out of the sky. The wind sounds mournful. It is, as they say, a dark and stormy night. And that's what the movie is about: atmosphere, ominous portents, the erosion of Teddy's confidence and even his identity. It's all done with flawless directorial command. Scorsese has fear to evoke, and he does it with many notes. ”


评分:9 out of 10