If you think you know musicals, please think again. Annette is the first English film by French director Leos Carax. The song comes from the cult rock band Sparks. There are no large numbers of songs and dance clips, and no singles.It does have a singing sex scene, a puppet baby, and an opening sequence in which Adam Driver Grab a stray wig before leaving on a motorcycle. La La Land This is definitely not.
The driver, whose hair is between Tarzan and Charles II, is Henry McHenry, a comedian who thrives out of anger. He warmed up for his performance, like a boxer preparing to enter the boxing ring, running wild on the stage in a shabby hooded dressing gown, both a boxer and a stubborn teenage boy, vomiting, And imitate his own suicide and sniper death. Through the town, his girlfriend Annie (Marion Cotillard) Put on the mask and prepare to perform her death over and over again, albeit in a more advanced way. She is an opera singer with an extraordinary voice, and she sold out in the concert hall where the tragic heroine was played. “Beauty and Bastard”, a mock tabloid headline tagged them.
It started with a strange romantic couple, and then began to play with thoughts about poisonous masculinity and the dangers of fame (with the almighty singing and dancing dad), and then the gear was transformed into a melodrama, full of commotion and whoosh sound. Annie’s performance provides us with a frame of reference for Carax’s film, which is the most meaningful as an opera, full of extraordinary passion and revenge.
Soon after Annie gave birth to a baby girl, the couple’s life began to feel like a nightmare-it’s not just because Little Annette, bless her, appeared in a puppet with red hair, like a cute cha base. Annie’s thoughts were plagued by the Greek women’s choir who published #MeToo-style revelations about Henry’s violence and anger, and his career plummeted (it turns out that you can only dare to cancel you so many times before the audience moves on. ), until he learned that Little Annette has extraordinary and lucrative talents.
It’s hard to imagine any other actor taking on this role as strongly as a driver, and his nerve energy is deployed to disturbing effects here. With the exception of Cotillard, his “nasty insects” for the character inevitably overshadow everyone he came into contact with (not just because he was six feet three inches-an unforgettable visual gimmick to see He is lying next to Annette, his legs sticking out of her crib), who is less noticeable in terms of drama but more challenging in sound is magnetic.
Played in two hours and 20 minutes, it is certainly not the first musical with a huge running time, but the driving force of these songs is not enough to maintain momentum. The spark duo Ron and Russell Mael (who appeared in various cameos throughout the process, as did Carax) created an atmospheric soundscape, especially in Anne’s haunting scenes, but not all musical numbers are in line with cleverness The promise of the opening remarks so we can start. Most of the content is presented in the form of couplets that rhyme with rap, even talented actors like the driver and Cotillard are not always eye-catching.
The dreamlike logic of the Carax movie means that he is free to indulge in all his strange impulses (whether this is a good thing or a bad thing may depend on your tolerance for the consciously alienated director’s film). From the time when the driver fell, he began to engulf the scars on the driver’s face, to a scene where Little Anne flew into the stadium by drone, he layered strange things on top of each other. It is not so much to please the public as it is to be perplexed by the public: “A song without taboos and a story of anger”, as “So May We Start” said.Compared to wondering if you are the only one who hasn’t finished singing yet, you are less likely to leave the cinema Got it.