Song and Dance Movie "City of Love" Selected Lines

"City of Love" opens with a big ambitious traffic jam + long shot, then the drivers get out of their cars and start to dance happily, setting the overall tone of the movie. Selected lines from the song-and-dance movie "City of Love" are the ones I've compiled for you, and I'm sharing them with you here.

1. When people disappoint you, you have to go forward, because the morning comes and it's another sunny day.

2. A small encounter may be the opportunity to wait for.

3. We are chasing after nothing more than another person's love, a throb, a look, a touch, a dance, gazing into a person's eyes, lighting up a whole sky.

4. I just need this crazy feeling, with a poof heart, wish it had been there.

5. There will always be a place where I can realize my expectations.

6. Just like that, I jumped on a bus and came here, brave or crazy, the future will tell.

7. No one likes jazz, not even you

Because of you, I like it now

8. To those who dream, even if they are a little silly, to those who ache, and to the chaos we create.

9. It is that hint of madness that makes us see new colors.

10. People love the things that others pour passion into.

11. The colorful world of music and machinery beckons me to leap onto the big screen and live every scene.

12. Why do you talk about 'romance' as if it's bad?

I don't know, it's just the way it is in L.A., everything is worshiped and nothing is valued.

13. You can write your own characters and write things that are as interesting as you are.

14.Jazz is? It's new every time, it's brand new every night, and it's very, very exciting.

15. How do you be a revolutionary if you're so stuck in your ways?

You cling to the past, but Jazz is looking to the future.

16. When you get the role, you have to give everything and go all out.

City of Love: Tragedy is more than just destroying the valuable things in life for people to see

Hesitated for a long time, but still intend to write about this movie.

It's been a long time since I've written a movie review on Douban. On the one hand, I've been busy, and on the other hand, I've been quite disappointed with this year's movies. After last year's and so on, and then look at this year's movie, it is indeed rather bland.

Before it came out, I even thought that if you put it in this year, you might get the last laugh.

The reason for my hesitation was a very naive idea.

? Why are they dancing at the drop of a hat?

The opening of the movie really confused me, and even listening to the soundtrack again later, I can recall the awkwardness of just entering the theater.

I can't really blame this embarrassment on me, but rather on the fact that Hollywood is making us more and more accustomed to the genre with so much hype.

Often, I feel like watching a Hollywood movie has become a meal.

When you pick up the chopsticks, see the eggplant, your taste buds seem to have been covered with a layer of thin oil, which has the aroma of meat foam; when your chopsticks to the eggplant, taste buds on the emergence of the flavor of the beans, even if the plate does not have beans; and when you finally put the eggplant into your mouth, a kind of ? A feeling of relief at last? just floated to the top of your mind.

That's right, I'm eating eggplant with minced meat.

Take a look at a few of this year's masterpieces:

The first lineup of this year's highly rated movies was basically monopolized by Disney's spurt of high-quality masterpieces this year.

This year's first lineup of high scores is basically monopolized by Disney's spurt of high-quality masterpieces this year., these three can be said to be the benchmark of the new anime movie, and not only each of the quality of the upper tier, even the type of strict differentiation, to do not fry the rice, but also tapped into the depth of a new one.

Enough praise for my division (ahem), and on second thought, there really aren't any good movies out there. Naturally good, but after all, it is still a popcorn movie; and also good, but the audience is too small; I personally think the top five . and, while all grabbed my heart in the theater, but definitely not to the extent that I wanted a standing ovation after watching it.

That's right, the highest appreciation for a movie is the urge to give it a standing ovation at the moment of blackout at the end.

So it's one of those movies that starts awkwardly, builds up to a long, thin stretch, and ends up flooding you with impulses.

What kind of movie is it like? A lot of people have said it's like. But I don't know how many people, like me, were reminded of <500 days of summer> when they watched it. The same spring, summer, fall, and winter, and all that passes is love.

But is it all love that passes? That's why associations are sometimes harmful. When I first arrived at Summer, I was sure it had to be a tragedy. No matter how much the two of them loved each other, they would never end up together.

But I was the opposite of Zixia: I guessed the end, but not the gaijin, and the seven-colored clouds.

The plot is so clichéd that all you need to do is read any review that reveals a key plot point to know where the whole thing is going. Its clichédness is almost as bad as Gosling's ride in it, which carries an uncomfortable sense of chronological difference. There are many times when you question whether the director did it on purpose, letting the retro costumes, music and vehicles have their atmosphere taken away by an iPhone with a shattered screen.

So the director didn't even bother to address these seemingly clumsy holes. In this movie, all of that is just the ingredients. Someone is right, this movie carries a strong sense of filter with so many views of Los Angeles that for a moment you wonder if the director hired a bunch of street artists and skipped even the set dressing effort.

The café scene in particular spits out the director's malice from start to finish. The pompous clerk, the expressions on the faces of the people around, the window on the world feel of Frenchness that comes from nowhere, all feel too contrived.

All of this is sublimated in the planetarium. The backgrounds and characters all look out of place in an extremely flashy and gritty special effects environment. Again, like the animation in the second half of <500 days of summer> some people like it, others think it's extremely moody. By this point, the movie is at best an homage, like this year's other period piece with an abysmal plot, < Hail, Caesar!> and it feels like yet another Hollywood series in which the director sells his sentimentality.

However, the movie maintains its artistic power to crush the TV series, no longer by plot (from the beginning, the movie has been unable to separate itself from the TV series in terms of plot), but by dramatic tension, and just the right amount of detailing that can be captured by the audience.

One small detail: when Gosling bumps off Emma? Stone, the scene is a laughter, everyone in the heart, this is a cheap directorial baggage; but at the end of the end, when the same scene is played back again, but in the moment the two touched, the whole plot is reversed, and the superb soundtrack (scheduled for the Oscars) played at the right time to take the audience into another possible future world, so that people can see the end of the people's hearts want to see.

Dramatic tension: after one ends up imagining with the director's camera, like the chocolate chip froth at the corner of one's mouth hasn't been wiped off after a cup of coffee, and one is still reveling in that little bit of finely tuned sweetness, one comes back to the hand on the piano, the tail end of Gosling's voice, and Emma Stone's proper face. Just when one thinks the director is about to tear down all the beauty that has just been built up, Gosling finally looks up.

The two smiled as their faces met double-faced, and the music stirred, ending the entire episodic play in a symphonic fashion. And that, I hadn't guessed, was the seven-colored cloud.

It ended well, with both men having the best ending each could have. All the two lost in chasing their dreams was love, all they gained would be the whole world. The obvious ending of a dream come true carries an intriguing sense of tragedy, which is where the director's skill is most evident in this movie.

People say that tragedy is the destruction of something valuable in life for people to see, and that is a typical Shakespearean tragedy, that is, the characters in the life of the disillusionment, are with a sense of original sin and a sense of destiny, as if all the tragedy is doomed (of course, doomed tragedy is the tragedy of the human innate the most acceptable, and the success of the religion has a similarity). But tragedy stopped being that simple long ago.

Many of the people who wrote reviews of this movie said that it was retro and focused on nostalgia. Some people gave it a high score because of this, and some people found it tasteless because of this. But what I want to say is that thinking this movie is a retro movie is itself a wrong idea. Not to mention the fear that this is the first time someone has made the superstar metropolis of Los Angeles this compact, even if we talk about the plot of this movie alone, it is beyond most romantic dramas as winter turns to spring and back again, with the combination of people, scenery and music (the facial tension of the two men in close-ups, the scenic tones of the jazz bar, and the orchestral music) as tight and rehearsed and precise as an opera or a stage play. This ability to dispatch and control the elements of the movie is what allows the film to be seemingly retro but actually innovative, and a mathematical beauty that will require fans to ponder over and over again.

Eggplant with minced meat. As I said before, it's the minced meat eggplant in your mind that makes it taste good. Most of the bad reviews of this movie from a few people, in my opinion, come from this: by typecasting it before or halfway through the movie, the mental construction of savoring the details is lost. This is a movie that looks at the details, and it's a movie that takes tragedy to new heights.