Malcolm and Marie Film Critique (2021 Malcolm and Marie); Lee Lee on the border of melodrama
Malcolm and Marie Film Critique (2021 Malcolm and Marie); Lee Lee on the border of melodrama
Malcolm and Marie is psychological psychological drama at its best and watery and superficial melodrama at its worst . In this article, I try to keep a search between the two and maybe we will reach a common discourse about this film. Follow us on the Tekrato site and review Malcolm and Marie films.
Covid 19 did not stop director Sam Levinson either. Project Malcolm and Mary all the pre-production stages of the script writing and filming under tight protocols health for the Kvvyd 19 spent. The film was released in cinemas on January 29, 2021 (February 4) with limited editions, andwas made available to moviegoerson the Netflix platform on February 5 (February 6). At the end of the article, we will take a look at the list of people involved in the film, but first we need to find the common discourse that I mentioned at the beginning.
Malcolm & Marie Movie Review (2021 Malcolm & Marie)
Lee Lee on the border of melodrama and romantic drama
First impression; A lively, well-rhythmic film and an apartment (villa)
My first sight to this effect with the rhythmic appeal and intuitive it was . The film that hits us with the black and white contrast and glamor we see in the film. The contrast that rhythms with the unique dance of John Malcolm (played by David Washington) and in which a tempo is blown and an exquisite appetizer is passed in front of us and promises us a film full of conflict and aesthetic events . In this appetizer, we see the background of tension and sparks of problems between the two characters.
Filmmaker blocking brisk walking Marie (played by Zendaya) to the toilet in the first sequence, silences his long the joy indescribable Malcolm, Mary, for we bomb the image that each is ready to bursting and even a countdown It has happened. A bomb that might destroy himself first and then Malcolm.
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The postmodern world: dialogues that have become monologues
One of the biggest problems in human relationships today is the fading of dialogue between them and the power of monologue. There are many causes for this pain that has befallen human beings today. These include cyberspace and technology.
Whatever the mechanization of human life and the disappearance of the sense of twinning and whatever the rise of ego in people who happen to be very empty and their manifestos on Instagram or at best on Twitter with one or two sentences such as: " My mom, dad and "My uncle is called by the Daltons," they say. Human beings who seek their lost identity without thinking about whether or not there was an identity that was lost from the beginning. No? It would be a shocking answer for those who have been blown away by cyber drugs in such a way that they walk in the skies and do not and will not think of this good at all.
This is what happens to the snake in our story. Contrary to popular belief, this snake has a deeper identity crisis. Marie, who has just been released from drug addiction (and the theme of Malcolm's film about Marie revolves around this axis) is confused by the fact that her name was not mentioned at the ceremony, and because of Malcolm's anger, she also faces Malcolm's identity crisis.
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Malcolm and Marie: Monologue or dialogue?
The relationship that the filmmaker defines for us from the beginning is a relationship in which the parties do not have the slightest common understanding of each other . They just learned each other's wounds to spark the phrase in my mind when arguing and, when necessary, sprinkling salt on another wound: The best defense is attack, and they go so far as to have a tennis-like rally between Malcolm and Marie. We are moving . Marie hits and Malcolm answers with a bang and Malcolm hits and Marie answers with a forehand. These are not contrary to the main perception of the dialogue audience.
Dialogue has a definite definition: a discourse in which you say something and I listen. I will give a proper answer and put forward a new proposition, and finally our discourse will be synthesized. What is happening between today's generation and about this film between Malcolm and Marie is a pure monologue. This lack of mutual understanding goes so far as to say that the characters in our story even say Solly Log in the workplace. The thoughts that due to their oppression and their partners had hidden their long-term expression . Regardless of whether the other party listens at all or not. Regardless of whether the other party exists externally or not.
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San Francisco Choronicle critic Mick LaSalle has a different opinion than I do with a score of 100/100. Mick Lassalle wrote:
In addition to the quality of his dialogue, Levinson's screenplay is a testament to the value of speaking and listening; By resolving grievances, their injuries also disappear.
Of course, I did not see any evidence based on listening and resolving the damage in this film, let alone eliminating the damage.
Film color; In the service or betrayal of the film?
I largely agreed with the black and white of the film and considered it in the service of the film. From the superficial concern that raises the stereotypical discussion of whites and blacks, to the whitening of film characters. From Malcolm's critical views of Marie and vice versa, each of whom considered themselves absolute white and the other absolute black, to the visual beauty and contrast of the film itself, which draws the audience's attention to acts and mezzanines rather than the splendor of Malcolm's aristocratic house .
Film decoupage; In the service or betrayal of the film?
In my opinion, the decoupage of this so-called apartment film was not weak. That was awful. Playing with the consciousness of the audience and at least underestimating the architecture of an aristocratic house. I wish the name of this filmmaker's behavior with the decoupage camera could be named.
The masterpiece of the filmmaker's childish behavior and better understanding of mezzanine and decoupage takes place around the 66th minute. When, in the midst of Malcolm's hysterical and artificial play, which constantly led to his penis, the camera zooms in on the snake lying on the sofa and the frame becomes so small that Malcolm is forced (albeit by the director) to force himself on The frame sinks so as not to offend the director's understanding.
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Variety critic Peter Debo has a different view of the film's multiple cuts, giving a score of 90/100. دبو نوشته:
Levinson has largely tried to treat his characters equally. His directing is seldom dramatic, but one can clearly feel the intention behind each cut as the power and dominance between the two characters is constantly shifting throughout the film.
As for Mr. Debu's critique, I will use only the same example of the 66th minute and a few minutes before it, and I ask the question, how exactly did the power exchange take place in that sequence with so many directorial cuts?
Hollywood in Hollywood; Donkey to donkey
I wish the day would come when Hollywood directors would have a common understanding to get rid of the clichés of filmmaking and realize that there is no problem in seeing Malcolm's torso from the same sequence mentioned above , and only with Marie's mimics and reactions to the words. Malcolm be on my side .
I wish the day would come when Hollywood would realize that when an actor is presenting his masterpiece in the film (based on Malcolm's exaggerated anger at a review by a white woman writer in the New York Times) with so many useless cuts and close-ups of the face Marie and back to Malcolm's single shot medium and close up Marie again and so on.
I wish someone could be found and say to Aziz director Azizjan, if you think he has an actor, he will present his best play during this film, which to some extent allows the camera to remain fixed on him and we will be informed of Marie's feelings later. Of course, he did not have any special feelings. Except for a silly smile. Dear filmmaker, let us enjoy a good single game in this film in which there is not much good play, and let the focus be on the one who is playing well.
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Hide someone because they are fighting
Above all, I underestimated the consciousness of my audience in all works of art. I am one of those people who believe that if an German enters the scene. If a form is selected. If we have a sex mezzanine. If a knife comes out of a desk drawer to threaten or kill, we have to deal with its function on the set.
I consider it an absolute insult to my conscience to do such acts only to beautify, scare or eroticize a film. Sex is not shown in this movie. But the need not to show it is not clear. This movie is about relationship. About the deep relationship between a lover and an ex-lover who are now facing serious problems.
Seeing real sex between these two people will definitely help us to better understand the feelings between the two. But what happened now? The director tricks them into saying that during sex, they enter into tense dialogues.
The director kills the knife and we do not see any function of the knife. The director does not even dare Tarantino. Tarantino, in which his latest boring film, Once Upon a Time in Hollywood, uses girls' legs so much that he frankly admits that he has this obsession. But in this film, we are on the side of this obsession with a superficial and conservative look, and snake legs have both fetish and non-fetish functions. In general, everything in this movie is half.
Austin Chronicle critic Salome Haillo wrote in this regard with a score of 50/100:
In general, Malcolm and Marie are less than a logical narrative and more like a show of some beautiful ideas. Ideas Ideas are often attractive, but still remain just ideas.
Second impression; A superficial boring movie with good but momentary games
The relationship in this film is examined in the most superficial way possible. It is also related to the casual and hand-drawn characterization of the director. The characterization for Marie is as follows: She is a woman who builds a house around her. She is a woman whose name is associated with the award ceremony of a film based on her miserable life.
A man who gets drunk and fights with the air in the desert around his luxurious house. With her big lips, she eats the food that Marie made for her with disgusting mulch, and connects the criticism of the New York Times critic to her being black, and constantly moves her hand towards her penis. An instrument that we do not see any function in the film.
It is because of the director's careless and hand-drawn characterizations that when Marie suddenly cries and tells Malcolm, why didn't you play me in your film? And he accuses him that the plans you got from the actor were all sexual and so on. In me, the audience does not evoke a special feeling because there was no sensory passage in between.
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Lack of cyberspace in 2021
For me, the audience was unbelievable that the function of the mobile phone for these two people who have an identity crisis remain at the level of playing music, and the end result is that a message comes to Malcolm's phone: Someone has criticized this and he Mediate a critique spontaneously. If we are dealing with a character for whom a critique is so important, we should see someone who seeks criticism from the beginning instead of climbing the door and wall in cyberspace.
The first pain: the last pain
Man has become a creature whose faint reflection we saw in Malcolm and Marie. A creature that does not tell the closest person in his life when he has a problem or is upset with him. It pours inside. It makes the problem a giant, and where it should not be vomited on the other side, and this in itself becomes a reason to create a new problem. If he had entered into a dialogue with the other party at the same time as the initial problem, the problem of tooth extraction would not have arisen and no previous problem would have been solved.
In this film, we are confronted with the subdued hatreds of a woman towards the man of her life, which is expressed in a one-hour, forty-six-minute film in the form of dripping and sinusoidal.
Last sequence; Camera inside and legendary couple outside
One of the few good things about the movie was the interesting ending. The end that keeps the audience inside the house. Maybe the filmmaker is trying to flip us with this technique. During the film, we criticized and objected to the relationship between Malcolm and Marie, and in various places in the film, we said that this girl said this now? Why is this boy so ignorant? Etc.
Now we are locked in the same house and look at Malcolm and Marie, who may be trying to solve their problems in the distance. We are in a room with a bed that never did one of its main tasks during the film, and Malcolm and Marie talk to us from behind. A conversation that must be interpreted. An interpretation that is not far-fetched but not accessible.
Malcolm & Marie Film Criticism (2021 Malcolm & Marie); Film cast:
- Director: Sam Levinson
- Producer: Zandia, Kevin Thorne, Ashley Levinson, Sam Levinson and John David Washington
- Author: Sam Levinson
- Cast: Zendaya and John David Washington
- Music: Labyrinth
- Editor: Julio C. Perez IV
- Distributor: Netflix
- Country: United States of America
- English language
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