纪录片自媒体解说素材-新闻动态参考-“肖恩·门德斯（Shawn Mendes）：奇迹”评论：轻量级电影提供了Pop Doc Tolopes以外的小见解/‘Shawn Mendes: In Wonder’ Review: Featherweight Film Provides Little Insight Beyond Pop Doc Tropes
https://cdn.6867.top:6867/A1A/hddoc/news/2022/07/0509/1941h0clxgvr5wn.jpeg“肖恩·门德斯（Shawn Mendes）：奇迹”评论：轻量级电影提供了Pop Doc Tolopes以外的小见解
‘Shawn Mendes: In Wonder’ Review: Featherweight Film Provides Little Insight Beyond Pop Doc Tropes
Netflix在过去的一年中享受了一系列音乐纪录片的好运：关于泰勒·斯威夫特，布莱克彭克和J Balvin的电影，即使他们是由星星或他们的管理层委托，也设法击中了这些方面的令人着迷的方面艺术家的职业生涯促成了扎实的讲故事。不幸的是，这种连胜的结束是“肖恩·门德斯（Shawn Mendes）：奇迹”，这部电影几乎没有给人留下深刻的印象，即这位22岁的超级巨星过着迷人的生活 - 这种保证可能会使门德斯（Mendes）最小的时候放心粉丝，但不会吸引任何人都没有被他的咒语捕捉到的人。疯了。他们都说，“努力。”这是一个错误的兆头或幸运的象牙，因为迫切需要至少需要逆境的文档才能克服其主题。如果有或有S直到Mendes的任何这样的生活或职业挑战之前，它都被Grant Singer的摄像机被掩盖了，Grant Singer是一位受人尊敬的音乐录影带导演，转为第一次纪录片，他的未来前景不必一定要判断他的兴趣很小被送去与这里一起工作。辛格确实发现了一些戏剧性的戏剧，大约在电影的三分之二点上抓住，这是可以理解的目的，即在电影中发生任何事情，他胜过这一点它几乎变得可笑。任何看过预告片的人都已经知道这是什么：门德斯的声音在巴西在他的全球体育场巡回演出之前就开始散发出来，导致了是否取消的困境。关于是否取消在106阶段的巡回演出中是否取消单个演出的决定被视为Mendes的生活中的变革性关键，这使他提出了一个问题：“如果我告诉世界我只是正常人类，他们会停止来节目和听音乐吗？”扰流板警报：不，他们不会。话，门德斯似乎确实是流行音乐中最好的主要明星之一，除了在眼睛和耳朵上都很容易，使在公司中花费83分钟的素质少了艰巨的任务要比这是一个仍在成熟的表演者，已经让成名的人去了一个没有吸引力的头脑。但是，实际上是一个小时，几乎只花了一个小时，因为电影在电影中没有其他角色真正发展，在我们之后，我们' VE早期瞥见了他的家人回到加拿大，他与同伴Camila Cabello的恋情。经理安德鲁·格特勒（Andrew Gertler）是DOC的执行制片人之一（以及Mendes本人和“ Late Late Show”制片人Ben Winston），但在讲述Mendes的《发现起源故事》之后，他似乎并不想放太多。当涉及到门德斯正在为即将发行的第四张专辑“奇妙”创作和录制歌曲的场景时，这部电影给人留下了印象在《星星》中，这些都是一个完整的auteur，始终指导创作过程，而他的写作或制作合作者则在沉默的欣赏中点头。Singer具有敏锐的视觉眼睛，正如您期望的那样，您期望的是一个导演六个视频的电影制片人对于Weeknd来说，除其他导致此首次亮相功能的学分外。当门德斯返回家中去多伦多郊区探望他非常普通的核心家庭，他跑到了，在黄昏的电力线下的田野里的草地上滚去时，这是一个足够好的景象，您希望您能呆在那里与他一起滚动了更长的时间。电影在音乐会丰富的镜头方面有点依赖一件好视觉事物。歌手的第一次或第二次从Mendes Bare Bare Baled的肩膀上开始表演（他总是在音乐会上始终穿着曾经被称为妻子的人），观众在他面前散开，然后在歌手身上摇摆一方，这是一个进步在这种环境中，舞台上的感觉，甚至是振奋人心的观点。到第五或第六，在不同的环境中使用了同一镜头，这是一个扭曲的望远镜。 （门德斯有一个英俊的背部，但不那么帅。）这部电影还为我们提供了两次单独的门德斯淋浴（当然是与肚脐的礼貌），这在电影中与TMI的Pandering Case Borders Borde borne born born the the the Mife几乎没有什么可以传达的信息。“我希望在这次巡回演出结束时，我对所有这一切有深刻的想法，”门德斯在电影的闭幕时刻说道。尽管他确实为此提供了一个踢脚，“我只是一个真正热爱音乐的人”，但它可能是该声明的第一部分，它与不合时宜的观众产生了最大的共鸣。有时，一名音乐纪录片师在使用《星星》中的一名音乐纪录片让摄像机滚动并享受一些出乎意料的叙事财富，就像斯威夫特的导演对“美国小姐”一样，当时受试者走到政治上或J时巴尔文（Balvin）与即将到来的“来自麦德林的男孩”（Boy of Medellin）所做的事情，当时那颗明星陷入了分裂的家乡争议。与此同时，他的运气是他的运气，他和门德斯一起出去走了路，所有的人都被抓住了。
Netflix has enjoyed a run of good luck with a string of music documentaries in the last year: films about Taylor Swift, Blackpink and J Balvin that, even if they were commissioned by the stars or their management, managed to hit upon fascinating aspects of those artists’ careers at a moment that made for solid storytelling. That streak comes to an end, unfortunately, with “Shawn Mendes: In Wonder,” a film that does little besides create the impression that the 22-year-old superstar has led a charmed life — an assurance that may reassure Mendes’ very youngest fans but won’t draw in anyone not already raptly caught in his spell.
Early in the doc, talking about starting his career in music as a young teen, Mendes reveals, “Nobody for one second looked at me and said, ‘You’re crazy. They all said, ‘Go for it.’” That’s the wrong kind of good omen, or happy-go-lucky portent, for a doc that desperately needs at least a hint of adversity for its subject to overcome. If there has been or is still any such life or career challenge for Mendes, it’s been well hidden from the cameras of Grant Singer, a well-regarded music video director turned firsttime documentarian, whose future prospects in the medium shouldn’t necessarily be judged on how little of interest he was given to work with here.
Singer does find a slight bit of drama to seize on at about the two-thirds point of the film, which, for understandable purposes of having anything at all happen in the movie, he trumps up to the point it becomes nearly comical. Anyone who’s seen the trailer already knows what it is: Mendes’ voice begins to give out before a Brazilian stop on his global stadium tour, leading to the dilemma of whether to cancel or not. The decision over whether or not to cancel a single show on a 106-stop tour is treated as if it’s a transformative crux in Mendes’ life, leading him to pose the question: “If I tell the world that I’m just a normal human, are they going to stop coming to the shows and listening to the music?” Spoiler alert: No, they will not.
With all that said, Mendes does seem like one of the nicest major stars in pop, on top of being easy on both the eyes and ears, qualities that make spending 83 minutes in his company a less difficult task than if it were a still-ripening performer who’d already let fame go to an unattractive head.
But it really is an hour and 23 spent almost exclusively with Mendes, as no other characters really develop during the movie, after we’ve had early glimpses of his family back in Canada and his romance with fellow star Camila Cabello. Manager Andrew Gertler is one of the doc’s executive producers (along with Mendes himself and "Late Late Show" producer Ben Winston), but he seems not to have wanted to be put on camera too much after telling the origin story of Mendes' discovery. When it comes to the scenes where Mendes is writing and recording songs for his upcoming fourth album, “Wonder,” the film gives the impression that the star does these as a complete auteur, directing the creative process at all times, while his writing or producing collaborators nod along in silent appreciation.
Singer has a sharp visual eye, as you’d expect for a filmmaker who has directed six videos for the Weeknd, among other credits leading up to this debut feature. When Mendes returns home to visit his very normal-seeming nuclear family in a suburb of Toronto, and he runs out to roll around on the grass in a field under the power lines at dusk, it’s a lovely enough sight you wish you could stay there and roll with him a little longer.
The movie is a little too reliant on a good visual thing though when it comes to the wealth of concert footage. The first or second time that Singer starts a performance shot from behind Mendes’ bare shoulders (he is always, at all times in concert, wearing what used to be called a wifebeater), audience spread out before him, then pans around to the singer’s side, it’s an impressive, even galvanizing view of what it’s like to be on stage in such a setting. By the fifth or sixth the same shot is used in a different setting, it’s an overworn trope. (Mendes has a handsome back, but not that handsome.) The film also gives us two separate glimpses of Mendes showering (politely, of course, from the navel up), which borders on a pandering case of TMI in a film that otherwise has little information to convey at all.
“I wish at the end of this tour I had some profound thing to say about all this,” Mendes says in voiceover in the closing moments of the movie. Although he does provide a kicker to that — “I’m just a guy who really loves music” — it may be the first part of that statement that resonates most with the not-quite-fanatical viewer. Sometimes a music documentarian in the employ of a star lets the cameras roll and enjoys some good, unexpected narrative fortune, as Swift’s director did with “Miss Americana,” when the subject went out on a political limb, or J Balvin’s did with the upcoming “Boy From Medellin,” when that star got caught up in a divisive hometown controversy. It was Singer’s luck, meanwhile, that he went out on the road with Mendes and all either of them caught was a rasp.
本文资料/文案来自网络，如有侵权，请联系我们删除。
资源真不错，感谢分享！ 感谢大佬分享。我又来学习了~ 非常不错，感谢楼主整理。。 谢谢更新，天天学习，天天向上！ 非常不错，感谢楼主整理。。
页:
[1]