Red is a kind of film that you probably feel self-satisfaction when you watched it. Because it again pull yourself a distance between the what we knew as entertaining Hollywood movies and your own cinematic experiences.
Well but for me it is ambivalent. I hold a great expectation when it had the most reputable critical consensus in the both academia and critiques, but also it had its own arena as a film that proves how self-frantic Cannes Film Festival is, as the PULP FICTION in the same year beat this most commonly known as European Art House film. But to those who believed those assertions and deeply flattered about it, I have not a lot to say, because someone has to live under someone else's opinions and to me this is simply means stupidity.
The RED to me, is a work that wrapped with the husk of those European directors' tenebrous tour de force in its own cinematic style, but to the core, like Kieslowski always did, is quite ponderous and sterile just like those scornful Hollywood commercial movies. To this point, the PULP FICTION won Cannes film Festival may had some reasons as its smooth production and the mature using of loop narrative structure.
I can hardly to understand what the Peter Cowie said about those points about "after 1994 everything had to be explained, it's PULP FICTION won the Cannes Film Festival, instead of RED". The RED is clearly explained, and structured, and you can not find those artistic stretches and poetic details to approach it. Even the dogs, to me it's just like a tool of director to get over the plots, very ponderously to make a bridge between characters, in which the most direct feeling is that, it is not alive, i felt that it is dead, a complete marionette.
But it is not the fundamental problem, you might depict a world that only stayed in the sense of story instead of something superior, something really cinematic. But Kieslowski didn't even do a good job in it. Simply because those you might seek for about the surrealism and the striking poetic part are missing, one of the most important camera movement is also sketchy as it's imitate a book falling down and we finally aware that this old man's secret. And this part probably be the people's agreement about how this film can hit to be a great work, and it is simple-minded ridiculous, that it's just a play of script in a worm-eaten plots that may stimulate those budding audience to reconstruct the whole film and imagine it as a great work in the textual POV.
And yes, there is the question, where is the film? Where is the cinema? What do I perceive is the story, the literature, instead of the beauty of cinema.
Someone might argue those striking cinematography and composition in it, but it's just in the base of okay level.
Some sequences made me recall the THE SILENCE OF THE LAMB (1991), the same salvation heroine and a creepy old man didacting (and those two actors does look alike the Judie Foster and Anthony Hopkins) The BLUE is the one of my favorite in the trilogy, it's really beautiful, and poetic in the cuts between cuts. RED is a blend between the BLUE and WHITE, and it didn't make it better, it made it worse.
Some shots directly to the sun recalled me the RASHONMON The advertising shooting is beautiful.
Well but for me it is ambivalent. I hold a great expectation when it had the most reputable critical consensus in the both academia and critiques, but also it had its own arena as a film that proves how self-frantic Cannes Film Festival is, as the PULP FICTION in the same year beat this most commonly known as European Art House film. But to those who believed those assertions and deeply flattered about it, I have not a lot to say, because someone has to live under someone else's opinions and to me this is simply means stupidity.
The RED to me, is a work that wrapped with the husk of those European directors' tenebrous tour de force in its own cinematic style, but to the core, like Kieslowski always did, is quite ponderous and sterile just like those scornful Hollywood commercial movies. To this point, the PULP FICTION won Cannes film Festival may had some reasons as its smooth production and the mature using of loop narrative structure.
I can hardly to understand what the Peter Cowie said about those points about "after 1994 everything had to be explained, it's PULP FICTION won the Cannes Film Festival, instead of RED". The RED is clearly explained, and structured, and you can not find those artistic stretches and poetic details to approach it. Even the dogs, to me it's just like a tool of director to get over the plots, very ponderously to make a bridge between characters, in which the most direct feeling is that, it is not alive, i felt that it is dead, a complete marionette.
But it is not the fundamental problem, you might depict a world that only stayed in the sense of story instead of something superior, something really cinematic. But Kieslowski didn't even do a good job in it. Simply because those you might seek for about the surrealism and the striking poetic part are missing, one of the most important camera movement is also sketchy as it's imitate a book falling down and we finally aware that this old man's secret. And this part probably be the people's agreement about how this film can hit to be a great work, and it is simple-minded ridiculous, that it's just a play of script in a worm-eaten plots that may stimulate those budding audience to reconstruct the whole film and imagine it as a great work in the textual POV.
And yes, there is the question, where is the film? Where is the cinema? What do I perceive is the story, the literature, instead of the beauty of cinema.
Someone might argue those striking cinematography and composition in it, but it's just in the base of okay level.
Some sequences made me recall the THE SILENCE OF THE LAMB (1991), the same salvation heroine and a creepy old man didacting (and those two actors does look alike the Judie Foster and Anthony Hopkins) The BLUE is the one of my favorite in the trilogy, it's really beautiful, and poetic in the cuts between cuts. RED is a blend between the BLUE and WHITE, and it didn't make it better, it made it worse.
Some shots directly to the sun recalled me the RASHONMON The advertising shooting is beautiful.
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