Fusion of reality and dream

  In 2008, the Coen brothers won four Oscars for their work No Country for Old Men. Since then, the brothers have become well-known directors who have attracted the attention of ordinary audiences. “Burning After Reading”, which was filmed between the planning of the script of “No Country for Old Men”, satirized the secret operation of the CIA to save lives and ridiculed some bad phenomena in American society. In 2009, their new film “Serious Men” is also a black comedy film focusing on small people. Since the Coen brothers began to work in film creation in the 1980s, their works have won many awards at major international film festivals. Although the box office results are not amazing, their unique “black humor” style has always been in their works. They have won them the love of many fans as well as the favor of Hollywood producers. “Black humor” writers believe that the modern world is characterized by a ambiguity of fact and fiction, so their novels are mostly dreamy, sometimes deliberately confusing reality and dream without any explanation, showing a certain Ambiguous and hazy. Cohen’s films also use a lot of expression techniques that combine reality and dreams, and there are many independent passages used to express dreams and “surreal” parts. Although these dreamy pieces make people ignorant, they are very beautiful and profound. Buñuel once said: “Film is the best tool for expressing dreams, emotions, instincts.” The Coen brothers are one of the excellent directors who are skilled in using this feature of film. In real life, there are few reasonable things, and nothing can be known completely, uniformly and clearly. Real life is often scattered, mediocre and vague, sometimes even inconsistent, and it is difficult to distinguish the true from the false. . That’s exactly what people say, and sometimes life itself is more dramatic. It is for this reason that the Coen brothers, influenced by the novelists of “dark humor”, set up many parts of their films that are like dreams but not dreams. The meaning is unclear, like a dream, like waking up, like a big enlightenment, and like looking at flowers through fog. In real life, the dream is completely withdrawn or ambiguous, but at the same time, it and real life depend on each other, and even constantly erode each other.
  It is because of this special way of expression of the Coen brothers that their films are full of many fantasy colors, true and false, confusing and confusing. In the film “Raising Arizona”, the fusion of reality and dream is very obvious. On the night Ah Hai stole the child home, he had a strange dream in which the savage gunman sped out of the desert on a motorcycle, leaving no trace of life anywhere he passed. The child was burned by him, and the little gecko was killed by him. This was originally just a dream, but when Ah Hai seemed to be woken up by the cry of little Arizona’s mother, the terrifying gunman also came to reality, he came from Ah Hai’s dream, he helped find the victim The child Hai stole, and finally Ah Hai “turned him into nothing”. The appearance and disappearance of this peculiar character is like a dream. He has the same tattoo as Ah Hai. Maybe this character itself is the character that Ah Hai imagined because of his fear, and finally disappeared because of his bravery. At the same time, the film ends with a dream of the male protagonist, in which he and his wife are getting old, they can have children again, and have a large group of children. The protagonist is as confused as the audience, wondering if this is real or unreal. This kind of scene, both real and illusory, is best represented by dreams, as Cicero said, “There is nothing more absurd, more complicated, or more abnormal than our dreams. “It doesn’t matter if it’s real or not, isn’t the movie itself a dream?
  Most of the dream content is absurd. We connect many unrelated people and events in our dreams, and the dream is like a kaleidoscopic kaleidoscope, and the result can be even more absurd and crazy combinations. In the film “Big Guy Labelski”, the protagonist Du Ye is often in a dream due to the effects of alcohol and drugs. In his dreams, he is sometimes a villain hidden in a bowling ball, afraid and worried; He is an excellent dancer, dancing with a group of bowling girls; sometimes he seems to be a bowling ball, flying gently under the skirt of the beautiful woman. It just flew into the sky and roamed, and then fell to the ground and was chased by the bad guys. The beauty and evil in reality and the illusory and exaggerated in the dream are integrated, crazy and ethereal, real and wonderful. It is believed that this passage will not only leave a deep impression on the audience, but also fully reflect the director’s cognition of the nature of the film and his superb skills in using the language of the film. “Dreams contain wonderful poetry, appropriate metaphors, superhuman humor, and rare irony. Dreams view the world with a peculiar idealism, and are often enhanced by their profound understanding of the nature of the world. Dreams In a veritable celestial splendor it expresses to us the beauty of this world, and it clothes the supreme majesty with nobility; it shows us terror from time to time in the most dreadful form, it turns our pleasure into the most acerbic A joke…” Hilde Blunt’s words can best illustrate the role of dreams in the Coen brothers’ films. The reality and illusion of life itself are depicted on the screen through artistic processing. By creating loose and unique dreams, the director leads the audience. Walking through reality and dreams, or nightmares become reality, or dreams finally shattered, these are the same as our lives. There is no real boundary between reality and dreams. Dreams are the source of movies, and life is the source of dreams.
  In the films of the Coen brothers, many characters were inspired by American noir novels. They did not put the characters in the original literary works on the screen, but made the protagonists in their films have certain characteristics of literary characters. For both of them, words and pictures have the same value. The film No Country for Old Men is adapted from the 2003 novel of the same name by American novelist Mark McCarthy. Likewise, their films “Miller’s Crossing” are about Dashel Hammett, “The Big Shot” is about Chandler, and “The Absentee” is about James M. Kay Regards. Ethan Cohen himself also wrote the novel “Gate of Eden”, which has important guiding significance for the brothers’ interpretation of black humor in the movies in the future. Literary works are the guides for their film creation. Their films express their respect for literary writers and at the same time fully embody the combination of word art and sound and picture art. Perhaps it is for this reason that their films are humorous and interesting. Not frivolous. American black humor writer Friedman said: “I have an intuition that black humor may already exist around me, as long as there is still disguise to be stripped in reality, as long as there are problems that no one cares to think about, it will Always wandering around us in one name or another.” The Coen brothers and their dark humor always lead people to capture this real humor and joy with a distinctive style.
  Based in New York, the Coen brothers have always maintained a very delicate relationship with the Hollywood world. They employ genres, but are never assimilated by the prevailing styles of commercial Hollywood films. The Coen brothers’ films are small-budget films and less dependent on the international market, they try to fill the market gap left by the Hollywood genre, providing works that are between European art films and mainstream Hollywood films. The Coen Brothers’ “Blood Labyrinth” in the 1980s has influenced many American films since it won the Best Picture Award at the first Sundance Film Festival, and about a decade later, such films have become a trend. In particular, the Wachowski brothers, Guy Ritchie and the highly personalized Quentin Tarantino who appeared later were more or less influenced by the works of the Coen brothers. Therefore, some scholars call such films appearing in the film circle as “Cohen type films”. The Coen brothers are not far from the masses of filmmakers, nor do they make obscure, high-pitched films. While paying attention to commerciality, the works of the Coen brothers also have high artistic value. Whether or not the Coen brothers’ films can truly live up to their claims and become mainstream films in the future of Hollywood, they are undeniably drawn from Hollywood. The Coen brothers once said that what had a profound impact on them was a movie program they watched in school called Mel Jazz, which played some incomprehensible and weird movies, and they called their style a Mel Jazz type. Sometimes they also deviate from their own creative style, especially the large-scale “Money Empire”, which also showed a clear commercialization trend while the box office was not good. Maybe this failed attempt can give them a deeper understanding that only a good combination of their own artistic style and commercial production can achieve a double harvest. It is not a wise move to simply deviate from your original artistic track and go to the “arms” of Hollywood.
  No matter whether the Coen brothers’ films can become a new type of Hollywood in the future, their alternative style and originality have made their works occupy a place in film history. As the Universal boss said: “Their films may not make a lot of money, but everyone wants to deal with them, even sign contracts, because people like the Coen brothers are the ones who will make the great movies of our time in the future. people.”