The Empire Triumphant

by:Y&M Crafts     2019-09-04
\"I feel a lot of interference in the original force.
It seems that millions of souls are shouting in torment and being suppressed at the same time. \" That\'s Obi-Wan Kenobi (Alec Guiness)
After the Evil Empire destroyed Princess Leia\'s home.
Twenty years later, in the new Star Wars \"special edition\" released this week, these lines may be the Elegy of the most creative and important era in American movies, A period of Star Wars suddenly stopped.
Director George Lucas did not completely kill American movies in Star Wars, but he did seriously weaken them.
Since Star Wars, production has become more difficult for movies without pre-packaged, formulaic blockbusters, let alone watching.
American filmmakers, who try to create something other than the next big saleable hit, or oppose the retro emotional trend that has swept the film, or, those who are merely trying to speak to the audience as adults have become equivalents of the \"Star Wars\" rebel league.
Star Wars enthusiasts like to talk about George Lucas, as if he was a Jedi master and controlled himself.
Created the universe with benevolent wisdom
This is the terms of John Westbrook\'s treatment of Lucas in the New Yorker of January 6.
Without bitter sincerity, it could be the work of an evil satirist: Back on Earth, Lucas seems to be closer to Darth Vader.
Lucas is the architect of an Empire. The production company, Lucas film and special effects studio Industrial Light Magic is determined to reshape the movie world according to its own vision.
He has basically succeeded, although his legacy is an industry that is premised on finding the next $100 million in revenue, ignoring other industries with lower margins, the movie is probably the most penalized for anyone who changes the Hollywood process.
Lucas used Paul Schrad\'s words to describe Ralph Mikel\'s sly private eyes in the fatal kiss me, a dwarf.
Star Wars has more influence on how the film is made than any other single picture since the birth of a country. \" But while D. W.
Griffith\'s film goes beyond their two.
Lucas has brought them back to Nick.
No irony, Lucas copied the art of Saturday-
Star Wars in the afternoon
\"If you\'re out there messing with bad movies, you\'re not going to be a part of the new age --
Talking about the power of the Army, or the expensive country --of-the-
Special artistic effects.
It\'s no use pretending Lucas\'s obvious unfun.
When Star Wars was released I was 15 and what I liked was that it removed the disguise and boredom of so many sci-fi novelsfi films.
See the awesome opening shot at the bottom of the Imperial war ship, jump to the speed of light, the little light on the star of death, and look like a city does at night --
Time plane travel, you know you will never be asked to be content with cheap special effects again.
The combination of innocence and technological maturity must have been the reason for the attraction of little Alan Rado.
In the 20 th Century Fox, he was ridiculed by other executives for his green lighting project.
For the suit, Star Wars is a godsend, and for the industry that shares the brain, it\'s a hero with a Thousand Faces.
But Lucas mixed Buck Rogers with Joseph Campbell, which was exactly what the mba, which was then in power in Hollywood, needed.
Men without showbiz or art experience who want their investment to get a safe return and recycle easily identifiable elements into a smooth new package.
Lucas said that the \"special edition\" of the trilogy \"(
Continued with the re-release of Empire counterattack and return of the Jedi in February)
Not only will it give a new generation of filmmakers a chance to see it on the big screen, but it will also allow him to add the effects of limited time and money blocking when the photo was originally taken. (
It will also serve as a pre-Mass
The promotion of his next Star Wars trilogy will begin on 1999. )
See what\'s amazing about the \"special edition\" of Star Wars (
Especially like me, you haven\'t seen this movie for 20 years)
Just how bad it is.
This is a fantasy film without any poetry and elegance.
Just like a movie series, the picture stumbles from one sequence to the next.
Lucas did not give the story a general momentum;
The last episode is just a sequence, not a climax.
This conversation is so wooden that it seems that Lucas\'s only experience of spoken English comes from writing.
He was completely unaware of his performer and even allowed Kelly Fisher to use a false English accent in her first scene.
For all the new effects he added (
This gives you an unpleasant feeling that someone doodles in your memory)
The most striking attraction here is Alec Guinness. \"Look!
\"You want to cry out,\" an actor! \" (
While Harrison Ford\'s wisdom
Ass wit is still fun. )
There\'s no better way to look at what\'s wrong with Star Wars than watching Empire counterattack.
In the second film of this wonderful trilogy, director Irvin Kershner (
One of our most talented filmmakers)
Think of people as human beings, not types.
Not only did he bring them closer to us, but he also raised them to the level of myth.
It is here that Luke, Leia, Han, and others have become characters that deserve a place in our fantasy life as well as Oz characters or E. T. (
Kershner allowed Fisher and Hamill to prove themselves actors;
They\'re great. )
Kershner and his ace photographer Peter Suchitzky gave the film a dark, shiny look, a perfect compliment to the dark mood of the film.
Even the pulp dialogue is full of loss and desire (
When he was about to fall into a carbon freeze, Leia said to Han: \"I love you. \" Han: \"I know. \")
Not just important moments with you, like Luke and Vader\'s terrible confrontation, but small moments like chebaka, when he\'s holding C-
A furry Hamlet is mourning his robot, Jorick.
You can call it sci. fi noir.
It is more accurate to see it as a fairy tale to the opera.
But unlike Lucas, Kushner\'s roots are in American movies aged 60 and 70.
He directed photographs such as the rogue priest, love, and the return of a man called a horse)
Star Wars has changed the world.
Seabrook\'s New Yorker article sets out some of the changes brought about by Star Wars, including sequels, merchandising, and the emergence of \"high concepts.
\"He also touched on the subsequent incredible leap in how to sell movies to the public-the movies are now targeted at specific audiences, tested and customized, and their possible complaints are calculated, their posts
Advertising budget decided by opening-
Box office at night.
But Seabrook ignores the most enduring legacy of \"Star Wars: The ultimate in Film.
A few years before Star Wars was released, probably from 1971 to 1977, it was the greatest time in American film history.
The generation of filmmakers who grew up in classic Hollywood movies is intertwined with the generation of filmmakers who are eager to face the new reality of American life. The self-
The aversion made in Vietnam, eventually the water gate incident may overwhelm and be frustrating.
But in the best pictures of that period, something else happened.
Directors such as Robert Altman, Francis Ford Coppola, Martin Scorsese, Sam pekinpa, Brian De Palma, Bob forth and others in classic films
\"Godfather\" movie \"Mean Street\" \"thief like us\")
Detective Film (
\"Long Goodbye\" \"Late Night Show\"), musicals (
\"New York, New York ,\", westerns (Mrs McKay and Mrs.
Miller, \"the return of a man named horse \")
Romantic comedy (
\"Owl and kitten\", \"Anne Hall \")Horror Film (\"Carrie\").
Not all of these films have been successful at the box office.
But even the audience will be happy, such as \"The Last Picture Show\" or \"a nest flying over the Cuckoo\", \"it was made with an adult emotion and a willingness to avoid the false happy ending that Hollywood had insisted on before.
Even blockbusters like the great white shark can operate from subversive emotions, and the clever ramlubo man is bigger than Robert Shaw\'s hero movie, the big man.
George Lucas reversed the style.
\"Star Wars\" allows people to drag the most fashionable old talk back to the movie without irony or apology.
By 1977, the core audience of adult films-the ability to make \"taxi drivers\" a hot audience a year ago-has begun to go far.
After the unprecedented success of Star Wars, executives will no longer be content with mild complaints.
Because they think what the audience wants is retro. fitted feel-
Good entertainment, adult photos are on the important list.
When Reagan was elected president three years later, the white man was resurrected.
Hollywood has never prepared an image of an American picket fence.
Reagan gave priority to the film Star Wars. (
He even paid tribute to this photo for naming his dream of the Inter-Galaxy nuclear defense pipeline in the nut brain. )
New Hollywood is not just showing its faces in all the Star Wars fans who invaded theaters.
All of a sudden, all the clichés that laughed out of the screen 10 years ago came back.
Weepies like \"ordinary people\", \"Officers and Gentlemen\" and \"cute terms\" are the passes for adult movies.
Those of us who groan or gugu often meet the eyes of blame, often from those who would have moaned with us a few years ago.
Anyone who thinks this trend has weakened today only needs to look at the most popular \"adult\" movie of the holiday just past.
In addition to the update of the classic Hollywood biographical film \"torture genius\", what is the over-rendered plot drama \"Shine\" and what is \"British patient\", but rather a war of over 40 years old
Although working with the Nazis has become the ultimate romantic gesture)\"The People vs.
Larry Flint \"is praised for his boldness, but it needs to turn Flint into a Patriot, awakening the importance of the Constitution, rather than portraying him as a self
In the process of covering up his ass, he won a key victory for the First Amendment.
While I hope Star Wars has never been made, I can\'t deny that without it, a bunch of movies I like might not be made: \"E. T.
Batman and Black Horse.
And whether those fantasy-focused filmmakers and otherworldly directors like Carol Ballard are questionable, if Star Wars doesn\'t occupy a fantasy position in American movies, tim Burton and Terry Gillem will have the opportunity to take the helm.
The danger for critics who lament past times is that they will be out of sync with the present.
I cherish the American film in the early 1970 s, and the filmmakers still show this spirit of breaking the tradition, which makes me very excited.
But some of my favorite movies in the last decade are Blue Velvet, some wild stuff, \"find the train\" is exactly their time, in their 70 s, they were unthinkable.
As Susan Santana did last year, it is absurd to claim that there is no benefit or risk in the film. (
It\'s an apology because it\'s good that you don\'t get off the bus to look for anything. )
It is snobbish to ignore the vividness and creativity in mainstream films.
One of the fun of the movie is to connect you with more viewers.
But looking for something bold and innovative now makes you feel like you\'re on the edge of culture.
For me now, watching Luke Skywalker blow the star of death to pieces is like seeing part of my favorite American movie go kablooey. Obi-
The voice of Wan floated in, \"the force will always be with you.
\"Who would think it would sound like a curse?
Custom message
Chat Online 编辑模式下无法使用
Chat Online inputting...