Xingqing

Nolan's film habits are unconventional, from memento mori to deadly magic, from the five-fold dream space to today's interstellar. Both narrative and intertextuality show Nolan's unique creativity and pursuit. Even the more commercialized "Batman" only flies with the wings of patience and technology, which is the strength of ordinary people after overcoming their fears, and is "not the same kind of people" as those superheroes with natural abilities or acquired mutations. Nolan would rather walk sideways and dance on the tip of a knife than take the usual way of making movies.

In Interstellar, Nolan once again chewed hard bones and challenged hard science fiction themes. Hard science fiction movies are based on rational thinking and the scientific spirit of "chasing the truth of nature". In the development of science fiction movies, there are very few hard science fiction movies that can really stand the test of time and have a great impact on the audience. Robert wise's Star Trek: Infinite Space and Robert Zemeckis's Contact in Time and Space failed to become classics. Now science fiction movies are the world of soft science fiction. This kind of movies tell stories with a little scientific knowledge, and may also discuss some sociological, philosophical and even theological issues, but they just can't be more scientific. There are also sci-fi films like Superbody, which are all based on "false propositions" developed by the human brain. Nolan "does not believe in evil" and is "hard enough" for himself. After crossing the choppy river of speculation in Inception, he went to a mountain of reason with towering walls. In interstellar space, gravity anomalies, wormholes, black holes, relativity, quantum mechanics, and five-dimensional space have almost covered all the cognitive fields of astrophysics for ordinary audiences. Nolan's challenge not only made the hard sci-fi movie "The Salted Fish Turn Over", but also aroused the audience's attention and discussion on space exploration and related knowledge again.

In Interstellar, Nolan is as far away from love as ever. Some people say Nolan's films are not good at expressing love. In fact, Nolan is not good at expressing love or unwilling to "follow the crowd"? Worth considering. In Interstellar, Nolan talks about father and daughter, but he doesn't use ordinary routines. Instead, he used a "young" father who traveled through time to watch his elderly daughter grow old. Father and Daughter is simple but has many touching plot details: when my father decided to go to space and drove away from home, he uncovered the blanket in the passenger seat, and no daughter insisted on following him and hiding inside; It took my father several hours to escape the robbery on Miller's planet. It has been 23 years since this world. The father saw the growth of the child from the video and burst into tears. How can Nolan, who is so delicate and sensitive to feelings, not be good at talking about love? It's just that love is no longer an additional element of many types of movies today, but has become "half the country". Although love is beautiful, it can't stand abuse. Maybe Nolan is only interested in being different.

Interstellar pays tribute to Kubrick's "200 1 Roaming in the Sky", which is not only a space exploration, but also a search for a home for mankind. The robot Tus is also the combination and variation of mystery of the universe Blackstone and supercomputer HAL9000 in 200 1 Roaming in Space. But times have changed. Nolan won't go to the other extreme as Kubrick did with the old Hollywood sci-fi movies. He can't reach Kubrick's independent spirit, just as Interstellar's father can't reach his daughter in five dimensions; Nolan's tribute is more like a "stay at a respectful distance." His docking is actually an impartial middle ground between art and commerce created by sci-fi blockbusters such as Star Wars, Superman and Alien after "New Hollywood".

Nolan can't ignore the feelings of the box office and the audience. There is only a layer of "enough paper" between interstellar "abandoning the earth" and vulgar "saving the earth" Hollywood's universal values and personal heroism are still there, but they are flexible and secretive. Nolan will not deviate from the direction of Hollywood, Nolan's Rome is still Hollywood's Rome. But in the face of various avenues, Nolan has always been unconventional, bringing a rare fresh breath to commercial Hollywood.