We can hardly retell the story of the film "Carmen". Because all the plots in this film are fragmentary. The dance director Antonio wants to rehearse the large-scale dance drama "Carmen". He himself played the male protagonist Don Jose, but he has been unable to find the ideal actor to play the female protagonist Carmen. He finally found her in a dance school. She was also called Carmen. Antonio fell in love at first sight, he seemed to become Don Jose, and fell into the Don Jose despair described by Mei Limei. After experiencing love, pain, jealousy, and conflict, this seemingly true love inevitably leads to tragedy.
The director of the new Spanish film Saura is an elusive genius. For the first time, his business card "Carmen" faithfully lifted a round of Merimi's "black sun" on the screen, and for the first time infused the vortex of Spanish national blood in the storm of Bizet's passion. Although the novel "Carmen" has been adapted into various other artistic styles hundreds of times, this is the first time that this story has been filmed in Spain where the plot takes place in the novel. As described by countless critics: Carmen’s story is about a beautiful and unruly free elf. It is a group of violent love and cruel storms, a dazzling, almost blinding black sun.
Merimi's novel "Carmen" tells the story of the love affair between Don Jose, a Spanish noble officer and Carmen, a gypsy girl. This story has almost become the immortal soul of the romantic period. It also seems to resurrect the ancient Greek tragedy, because it includes the basic elements of ancient Greek tragedy: love, pain, and death. It certainly became the main part of Saola's film. The other part of the film
is taken from Bizet’s immortal masterpiece-the opera "Carmen". On the pedestal of this double genius, Saura added the exquisite dance of the greatest contemporary Spanish artist Gades (the actor of Antonio in the film), and the performance of the guitarist Paque de Lucia. Guitar music. So as to inject Spanish blood and charm into this French story that happened in Spain. Saura retells the story of this crazy love in a charming elves-like film language. French film critics once called it "dance of seduction, dance of confusion, dance of death."
is also a movie with " The "layer structure" film, that is, it has a film in the film, which tells the story of the dance director Antonio’s mad love for the actress Carmen, and the dance drama also tells the story of Don Huohan’s mad love for the gypsy girl Carmen. . But what is so confusing is that, as audiences, we still can't tell where love in a dance drama begins, and where love ends in reality. We cannot tell which part of the film is the love of contemporary Spanish dance director Antonio for the unruly actress Carmen, and which part is Don Jose's desperate and helpless love for the unruly and beautiful Gypsy girl Carmen. We can't tell where they are performing the struggle of passion and fate, where they are truly experiencing the despair and destruction in love. We can never distinguish where is the stage, where is reality, where is performance, and where is life. In fact, modern love stories and love stories in dance dramas are not complete, they are just fragments of life and dance dramas in rehearsals. These fragments are joined together to retell Merimi's "Carmen". Between reality and rehearsal, we once again witnessed that crazy, burning love and death.
Saola is so fascinating to create a unique reverberation of light, shadow, color, plot, music, and dance on the screen. What’s more amazing is that he even created an atmosphere on the screen, which is like a curse, like a purple cloud. The first picture and the first note from the beginning of the film capture the hearts of the audience. , And at the last minute it did not relieve us.
is like other films with a "layer structure"-"French Lieutenant's Woman", "Hong Lingyan", "Eight and a Half", there must be one of them, at least one character has experienced a mental misidentification. He (she) confuses his real life and emotions with the life and emotions of the characters in the film at some point. In this film, it is Antonio, not Carmen, who has experienced this misidentification-even though she has the same name as the heroine of Merimi.
told Antonio that when he anxiously searched for Carmen's actor for the dance drama, he finally found her. When she was asked to audition, he was already looking at her not only with the director, but also with the eyes of the character Don Jose. And to Carmen,That gypsy girl is just a role, an opportunity. She has never read or bothered to read Mei Limei's novels.
She loves Antonio, but it is not the love of Merimi's Carmen. Her Don Jose-style fanatical love for Antonio is only a kind of indifference, pity and deceitful comfort. Except in Antonio's hallucinations, she has never even appeared as the gypsy girl Carmen in a costumed dance drama. She has never been Merimi's Carmen. She is just herself—a modern woman. Gatayi is indeed Merimi’s Carmen, because the camera county is watching her with Antonio (Don Jose)’s eyes, which turns her into Carmen, a gypsy girl, and Will nail her to Carmen's fate.
misidentified, the illusion only exists on Antonio's side. In the film, Antonio Yuchen has an extraordinary love for art, and he often confuses art and life. For him, his art is his life. Therefore, we cannot tell whether he loves the actress himself, or he loves the gypsy girl as the character Don Jose. When his love was frustrated in reality, he got up at midnight and danced alone in the rehearsal hall. At this time, what appeared in the mirror in front of him was Carmen, the character of the play in all black, Spanish classical costumes, not the image of her actor.
In this film, the pain and disputes of true love will always extend to the stage; and the stories on the stage will always reappear in reality. Actress Carmen told Antonio that her husband was not worried, "All he wants is money." After that, we saw them cuddling in bed, and Antonio threw an envelope to Carmen: "Tell him to leave you forever." This is obviously a reality scene. And the next scene is a group of people gambled together under dim lights, among them Antonio and a man who resembled Carmen's husband. This seems to be a continuation of the previous real scene. Finally, there was a dispute between the two men. After a short period of confusion, they unexpectedly beat the dance with their canes and began to perform wild dances that fought against each other. There, it should be a scene from the dance drama in the rehearsal. But the madness and hatred on Antonio's face shook our confidence and disrupted our judgment: Maybe this is true? If it were a performance, Antonio seemed too violent. As a master of light and shadow, when Saura was shooting this scene, he pointed his camera lens at the low light source and cast it on the giant shadow on the wall, so the scene became a shadow dance, shadow duel . It is a metaphor for the blurring of the boundary between reality and illusion. And Tang Huohan (Antonio) finally knocked his opponent to the ground. After Carmen and him got together and returned the gold ring, they slowly stepped back side by side, and the performance seemed to be over. But this moment was delayed for a long time, until we fell into the confusion of judgment. Carmen suddenly smiled and patted the female Tonio on the shoulder in a soothing manner. We were relieved to believe that there was no accidental injury or murder. The
film ended in a grand rehearsal scene. Anthony is the ending of O'Dance, and it is the ending of Saola's film. As a superposition of the four endings, we already know what will happen, but we cannot be sure what happened at the end of the film. The ending of the film begins with a realistic scene of a bullfighter dressing up, just like a real scene; but the curtains rising all around reveal it as a scene on the stage. The troupe members walked into the rehearsal hall in groups and began to dance together. The relaxed, relaxed and free atmosphere makes it like a reunion in reality. However, the matador on the stage appeared, and Antonio was jealous with him once again as a stylized dance performance, reconfirming this scene as the final rehearsal. But afterwards, when Carmen, who was fascinated by the matador, resolutely left Antonio, the latter madly followed. Among the singing and dancing crowd, their movements no longer have the slightest taste of performance and dance. It can almost be confirmed that this is no longer Carmen and Don Jose on the stage, but Carmen and Antonio in reality. Antonio forced Carmen into the dressing room of the rehearsal hall, took out a dagger (not a prop) outside the door, and used it to stab Carmen again and again. We saw Carmen fall outside. This is a scene off the stage. It should be a real scene, the ending of the film. But the camera slowly moved up and opened, and we saw a very quiet and serene rehearsal hall. The members of the troupe rested and chatted in twos and threes. It seemed that no tragedy or even strange things had ever happened. Are they not aware of it? RestrainOr is this really a dress rehearsal, the ending of the dance drama in the film? So what about Carmen and Antonio in reality?
In this way, Saura turned a well-known story into a seductive mystery, a mystery full of tragedy. Thus, in this beautiful film symphony poem, there is a cry of pain from the depths of the soul.
