Ace Hollywood

• Harvey Weinstein began to focus.

Roman Polanski - this is the master of film composition, and Daniel Sandler's performance is meticulous, and the combination of the two is vivid in this moment.

Many big names in the industry who are very familiar with movies can clearly feel that their movie cells are cheering at this time.

This scene alone is enough to keep the film alive.

From here onwards, Roman began to unfold a picture of all beings in troubled times.

The dark crowd, the mad woman looking for her husband, the arrested Henry and the powerful Izchak - and the wheelchair old man left in the opposite building, and the shot that will be portrayed many times in the movie - not because of you It's a rebel group, not because of what you did to the authorities, just because it's your turn to hit the road today, just because your blood is Jewish. This kind of slaughter is always telling absurd emotions, people, it seems that they are no longer people.

Then Spearman and his family had to be driven into the ghetto, and then, the concentration camp.

In the understatement that followed, Spearman's parents, sisters, and younger brother disappeared from his life, suddenly deserted. Without the slightest bit of sensationalism that the audience thinks, the handling can even be called neat, and their deaths are so silent and obscure.

Like, like the millions of Jews who died in concentration camps in those years—even if the Spearmans made it into the movies, no exception. This is how these Jews went to silence, darkness and death without any heroism and without any dramatic conflict.

A Polish pseudo-Nazi saved Spearman's life at the last minute.

Maybe it was out of his vanity to save a famous national pianist, maybe it was out of a good idea that Spearman was saved by a pseudo-Nazi, not an underground organization, not a Jewish civilian - Polanski's This setting is obviously intended to blur identity and good and evil, and to destroy the symbols of groups.

Seeing this, Harvey Weinstein has no doubt that this is an excellent work that is worthy of competing for the best picture at the Oscars next year. But Daniel Sandler's performance should have just begun, and the foreshadowing is over. The times have shown, and what follows is how this pianist walks alone and struggles to survive in such times. Who he's going to meet, what he's going to endure - Harvey feels like he has a visceral expectation.

The performances here and the last year I saw Emmett of Pretty Woman, Legolas of The Lord of the Rings, Jason Bourne of The Bourne, Ian Bourne of The Greek Wedding. Miller is completely different.

In The Pianist. Even in the relatively dull early period, Harvey could feel the depth and thickness of Daniel's heart, plain but not shallow, indifferent but not pale.

This is Daniel's growth work.

Harvey seems to be able to imagine why Daniel would invite all his friends in the industry to come and cheer for this film-although because this film does not have much box office threat in North America, everyone has no worries when choosing to come or not to come. . But Daniel sees the film as a new phase in his performance art, and it's a proud but confident state of mind to convey that message to those in the room.

At least. So far, he's been successful, and Harvey glanced around at several big directors and media editors.

Sure enough, when Spearman returned to the empty Jewish quarter and met the survivors hiding under the piano stage, Daniel presented the first "artistic" performance of the film.

Every stumbling, every look in his eyes, every dazed look around, every absent-minded ramble—in the empty and broken background, it was like a solo dance, or something. Play a pathetic piano piece.

Adrien Brody's performance is slightly inferior to Daniel's, and it is most obvious here. Apart from his style, language and opponents, Daniel still maintains his strength, appeal and strong emotions. But the 28-year-old Adrian did not have this skill. His natural talent allowed him to fit the characters and the times with many help, but it was not enough for the characters themselves to illuminate the times.

But Daniel can—why he says it's a comeback and a sublimation of his performance, because at this moment, Spearman's character is no longer an invisible background light, but a cool-toned headlight in the center. The former reflects the times and history with human nature. However, it is only a rendering and an explanation in the end, but the latter is completely different. The light of human nature shines through the era, and what is striking is the deeper shaping and declaration.

Most of the people who are doing it, including directors and film critics, are highly appreciative, and the media, which are slightly inferior, are more sensitive than the average person, so the entire auditorium and this performance can feel it. Daniel's strength lies.

"He's a miracle, isn't he?"

"Perhaps, this is the genius, the man whom God looks upon."

When the plot slows down, there are short conversations below - whether it is a film critic or a film reporter, in fact, basically no matter what kind of film, when they are in a working state, it is difficult to completely calm down. Entering, this is also one of the biggest problems when the producer holds a professional preview meeting. Because some movies, if you can enter them with a deep heart, you can feel the charm of 120 points, but most of the film critics and reporters who are invited can only feel 60 points, and the remaining four Ten percent, it's all about film theory and built-in judging standards—a subconscious behavior that stifles innovation, and that's how it exists.

Next is really his one-man show.

How a pianist was reduced step by step to become a refugee.

The filthy, unfit shape, the increasingly prominent cheekbones, and the gentle romantic look in the eyes, how to become cringe and numb.

Styling and performance come together flawlessly here.

Spearman is locked in the house for safety, a new episode of Daniel's outburst.

The audience can almost helplessly see how a decent artist went from the peace of mind of having a place to live, to restlessness and silence, then to lack of food, water, and communication, and finally to a shaggy beard whose life was hanging by a thread. of desolate people.

Spearman had to flee after artillery fire hit the sanctuary filled with rebels.

"Polanski was really bold."

Sitting next to Harvey is Steven Spielberg, a great director who has made "Saving Private Ryan" and "Schindler's List", and the latter has even repeatedly hoped that Polanski would direct. , but ultimately failed.

"What?" Harvey turned his head slightly.

"Have you not noticed, such a big theme, such a heavy subject, and such a cold shooting method, he actually dared to rely on one character to shape the whole film, Daniel's one-man show is too much, if not for Polanski's The tricks are ** enough, I even want to wonder if he found a big room, put different background boards, and then found a person with great acting skills in this room and acted out the whole story. ,incredible."

Harvey glanced at Steven's expression, not sarcastic, but full of wonder.

He chuckled a little. "However, he did find a great solo dancer, didn't he?"

The Nazi officer's ultimate rescue of Spearman, and his own eventual ending, was neither the mundane drama of repentance, wrong-proofing, nor the reconciliation forgiveness and life trade of You Save Me, I Save You - just because , it was just that, Spearman was rescued by an individual Nazi officer who died in a POW camp.

This is the most distinctive feature of the entire "The Pianist".

honest!

Honest is not like a movie.

Almost lacks some important elements of the film, such as the endless conflict, the emotional contrast and rendering.

"A semi-documentary."

A reporter Nan Nan said to himself that when the film was about to end, he began to ponder how his manuscript should describe the film.

But no matter what, Daniel will be praised.

They clearly felt that the miracle of Daniel **** would continue, and it would not be his Waterloo.

...

As Daniel promised, after watching the movie, no interviews, no pictures, Daniel thanked them one by one, made an appointment to see you again, or who's Christmas party, whose birthday party, etc., and then drove them to the car.

Harvey Weinstein was the only one left.

Meaning is clear.

Tim Rowland commissioned him to do PR for the film, and Good Machine Pictures did the distribution. The former almost meant an Oscar, or a Golden Globe. "The Pianist" was officially released in March. It was released on the Oscar line. Needless to say, the intention is clear~www.readwn.com~ Harvey, how about it? "

After being seated again, the staff served two cups of hot coffee. The owner of Oriental Cinema, Exxon Cooper, came to say hello and went to work on his own.

"You really take care of him, is it because of the previous friendship in "The Greek Wedding"?"

Now in the ** theaters in Los Angeles, the envy of Exxon is definitely no less than the sympathy of Matthew Fox - Matthew has been transferred to the West by Carrick Cinemas because of a mistake on "Greek Wedding" The decision, which even affected Carrick's basic operations, many old customers couldn't see this masterpiece here, so they had to switch to another theater chain. He might think the new movie theater was not bad, and then Carrick's customers began to lose. ——This is not a small amount. Considering Carrick’s ambition, the gap with the three major theater chains, and the importance of Los Angeles, Matthew was not pressed into the toilet, which is already a pretty merciful disposal.

"What do you think of this place?" (To be continued.)

PS: Thank you Yu Su Sizhen, cn2514, Huwei 19, elfuture00 for monthly passes, I love to eat rabbits and reward. Sure enough, it's a mess, you can't break out! Ask for a recommendation ticket