A film review calling for quick taxi arrest

Traditional French comedies are somewhat similar to China's cross talk, emphasizing "the art of language"! The "body comedy" represented by Jim Carrey is an art type that he is not good at. It is precisely because of this that when we appreciate French Comedy, although it is easy to be "knocked down" by lines full of self-mockery and wit, we will never feel "uncomfortable" after being made to laugh.

The film "Take a Taxi" inherits this pure national tradition well. After adding enough action elements, it still maintains a fresh and natural narrative style. The director did not deliberately incite; There is no ambitious catering. Yes, it's that kind of confident simplicity and unrestrained concentration.

In French comedies, banter and resistance to authority are consistent techniques. This movie is no exception. However, the use of this technique is only a kind of ridicule, and at most it only gives the audience a prank pleasure in the reversal of the role image. (Similar to the hero who is afraid of his wife in China's sketch) And no one really wants to compete with juice. The final result is different from Si Tong's aggressive questioning and hysterical criticism!

Knowing this, you won't be disgusted with the obvious facebook role arrangement in the film. Because of course, some characters only exist in some stories. A story that cannot be logically justified will never have real and reasonable characters. Too much entanglement in this issue will seriously affect your mood of enjoying this film.

However, it seems that this alone is not enough. You should also adjust your "IQ" appropriately. Because, too smart brain will make you unable to appreciate the stunts that movies have painstakingly created for you. And put forward "how can a punk who doesn't even have a driver's license apply for a taxi license?" And driving an illegally modified car, treating the police as crazy and having nothing on the street? "."How did a clown who can't even drive a car and has some mental retardation get into the major crimes unit? "... and so on so obviously disappointing.

If you have had painful memories of enjoying entertainment films before but being taken to the ditch of art films, you can relax this time. Because the director seems to hate that nondescript movie type more than we do. So his only concern is how to improve the popularity of the film, and then completely give up the pursuit of ideological depth. This shooting technique can be seen everywhere in Hollywood, but it is definitely a breakthrough in French films with strong artistic flavor. This time, I didn't pick up the guide tube, but the completely simple narrative style left the brand of Lu's works on the film.

The nationalist plot in the French nature is easy to show in his works. And, still in a proud way. Unlike our compatriots in ethnic minorities, people who talk about patriotism are afraid of being labeled as ultra-nationalism.

There is no doubt that the driving of the protagonist in the film is Peugeot. But please note that the two groups of bad guys it deals with are "smelly Germans" and "Japanese devils". Of course, their cars can only be "broken Mercedes" and "Mitsubishi". The main characters in the film's contempt and ridicule for the two defeated countries in World War II are explicit and undisguised. The French people's merciless respect for history has been fully demonstrated in this film, which is purely for entertainment purposes, and people can't help but smile.

Entertainment films seem simple, but in fact they require higher quality scripts. Of course, Hollywood's desperate attempt to cover up a thin plot with dazzling stunts is not a panacea, but it is also a way. However, the stubborn French just like to give up the easy and ask for the difficult. They just strung together a wonderful drama with a small bag of clever ideas.

If you look closely, you will find that the "green leaves" in the film are not inferior to the "flowers". Even, in some scenes, there is suspicion of usurping the role of the host. In the gap between Daniel and Ai Muliang, we can see "the police chief who is eager for success, the loving mother, the arrogant general, the frightened passenger and the tortured examiner". They gag, mystify, or trap themselves. A series of vivid supporting roles fill the gap in the film where there is no protagonist, and always maintain a proper temperature to keep the audience being teased.

The most difficult factor for comedies to give up is "sex". Please recall the comedies in recent years. Which one have you neglected? ) French people who have always been "interested in sex" will certainly not forget to do enough articles on it. But with the same material, we may "appreciate" the obviously exaggerated plots in Hollywood movies, such as Farting and Spitting Fire (Dumb and Agua), A Meat Stick Through the Brain (horror story) and Super Hairspray (I'm crazy about Mary). The French people seem to be more confident in this regard. "Sex" can be used as a reason for teasing and excusing at any time, just like eating cabbage. Even the comedy is not small. In contrast, the artificial amplification and flattery in American movies are very cheap and ridiculous.

Zhang Yue, the famous "heavyweight" host of CCTV, praised Master Xing's works. It is said that his comedy style is "concentrating all the shortcomings of real little people in life, magnifying them ten times and returning them to the audience." Actually, this is the essence of all comedies. Although the characters in "Fast Taxi" are exaggerated, they even tend to be caricatured. But it still strictly follows people's emotions and value orientation in reality. And keep it at a good "degree" so as not to let the audience have doubts about non-human and non-ghost. What is particularly commendable is that French films' sympathy for the fate of small people and their ridicule of authoritative forces make people feel a deep human touch after laughing, which is hard to see in many purely funny movies.

The director's grasp of rhythm is another "bright spot" of this film. From beginning to end, he did not let the film fall into a one-track mode, and also avoided the traditional three-stage structure of action drama. The whole movie gives people the impression that it is patchy, fast and not chaotic. The director fully mobilized the actor's scenes and made his performance more like a sitcom than a movie. The feeling of "roughness" does not make people feel divorced from the plot, but makes the life-oriented performance closer to reality and the comic stunt more convincing. In many bridges that are obviously close to "out of line", the director used "a beautiful brake" in time, so that the ending of the story finally stopped at the original destination and did not let the film fall into the abyss of kitsch.