Chapter 85 paul verhoeven's justina

After watching Paul Verhoeven's "Black Book" (also translated as "Black Book of Horror"), I think I can add another gold standard for the difference between art films and commercial films: it is art. Whether it is a commercial film or a commercial film, it should depend on how busy the people in the play are. The protagonist of an art film is often leisurely. A cup of tea, a conversation, and a hike are a play. There is almost no difference in life, but the protagonists in melodramas are absolutely busy. In the same period of time, they have been married several times and died several times, and even the earth has been saved several times.High-density production of all kinds of treasures is the only way for commercial films.

This is the case in "Black Book". The glamorous heroine was already on the run as soon as she appeared on the screen. The plane flew over her head and blew up her house. That night, she almost fell into the clutches of the Nazis and was rescued by a mysterious figure. Escaped with hatred and became an undercover agent... The plot was airtight for more than two hours, and finally she killed the traitor, cleared her grievances, and decided to use the gold and silver treasures returned to the Jews to build a farm. No, more than ten years later, the day she sat by the lake and recalled all this emotionally was the day when the Middle East war broke out, and soldiers from the brigade rushed into their farm again.

It can be seen from this that what kind of plot density is required for a melodrama? To send the audience out of the theater, you must wait until he is thinking about you for more than half a year.So I think of those directors in the Mainland who claim to be making commercial films but have repeatedly become jokes. First of all, their works are not up to standard in terms of plot density. After seeing the high-rise buildings outside Hengdian Film and Television City, in the end, they only saw loopholes.Commercial films are not afraid of loopholes, only slow. But "Black Book" is really too tense. The heroine's experience is almost comparable to that of Giustina in Sade's works. Spider Hole.In fact, Paul Verhoeven has not always been so nervous. From "Armoured Dragon", "Instinct", "Showgirls" to "Transparent Man", he has always been relaxed, and "Black Book" is too nervous , Excessively fast, although it did not affect the fullness of the character image and inner drama at all, although it was not vulgar, it affected its credibility as a story, so it was coldly received at Oscars and Cannes.Maybe Paul Verhoeven and screenwriter Gerald Schuitman wanted to use this kind of tension to reflect the troubled times of the Jews, showing that they never had a chance to breathe, no matter in history or in movies, but Once it is too fast, the character is like entering the spin-drying drum of the washing machine at high speed, completely detached from the entire background, and becomes a vacuum person, only for the eyes to focus on her personal destiny, so it can be placed in any generation Pass.

However, I have always liked Paul Verhoeven. He has a kind of richness that Hollywood does not have, and a deep, almost greasy sexiness. If we really want to compare him with the filmmakers we are familiar with, he can be regarded as Dutch Wang Jing, who knows the secrets of movies, is like a duck to water in various types of movies.But what surprised me the most about the news about "Black Book" was that it was staged in China after being cut down.Isn't it regarded as the "Western version of "Lust, Caution""?Isn't the heroine willing to pay a heavy price to rescue her Nazi lover?In short, there is a kind of cold humor in this news that only you and I can understand.