From Flower Vase to Film Emperor in Hollywood

To date, Steven Spielberg's works have never been selected for the "Cahiers du Cinéma" annual top ten list. Regardless of how other media praise and adore him, this French magazine stubbornly sticks to its own path, to the point that this director, who holds an extraordinary position in America, has never gained the favor of "Cahiers du Cinéma."

Somewhat surprisingly, "Cahiers du Cinéma" has taken a different view of "Catch Me If You Can," generously praising the work and pushing it to a new peak.

"Fluid, agile, humorous. In such a story full of dramatic tension, the film's lens always focuses on the characters' psychological states, those lies, those tugs-of-war, those hesitations, whether triumphant or melancholic, the characters' states are always the absolute focus, cutting open a small incision to focus on the culture and psychology of the seventies.

Those fashions, those trends, those broken pieces, those anxieties, as this generation born during the Great Depression, they are becoming the silent generation, gradually fading away in silence after experiencing confusion and turmoil, while little Frank Abagnale Jr. emerges like a异类, making his voice heard in a different way.

As Carl Hanratty says in the film's closing stages:

'Sometimes lying is easier.'"

Unlike other media, "Cahiers du Cinéma's" perspective is always unique, it's about the film, the culture, the psychology, and the art. They don't care about the actors, the only thing that matters is the director.

"Cahiers du Cinéma" believes that this film is undoubtedly one of the most worthwhile works to watch this year, and puts forward a slightly different view from Roger Ebert.

They believe that Steven Spielberg has abandoned those ambitions and desires, no longer focusing on "blockbusters," big scenes, big productions, big themes, etc., but instead unloaded the burden, traveled light, and produced a perfectly natural work that seamlessly integrates his keen awareness and capture of the times.

Such a "small film" demonstrates the director's skill, with a sense of ease and lightness.

Praise!

It's all praise, but there are differences between praise and praise. Roger Ebert and "Cahiers du Cinéma" can see the difference in their perception of the film.

However.

"Cahiers du Cinéma's" reviews are not included in the media's overall assessment.

It's not that "Cahiers du Cinéma" is not qualified, but because their reviews of the latest films are often delayed for a long time, or even disdain to comment at all, so that media review websites have no way to include them, and finally can only regretfully give up.

This time, "Cahiers du Cinéma" actually worked overtime on Christmas Day to publish a review on the official website as soon as possible, obviously not because of the film's deep connection with France, which further demonstrates this senior professional magazine's admiration for the film.

A small incision, but you can deeply feel the energy ignited by "Catch Me If You Can."

So, when people see unanimous praise flooding the screen, it doesn't seem so surprising.

Only four mixed reviews, all other initial reviews are praises.

"The New York Times," ninety points, "Super invincible entertainment effect. Comfortable viewing experience."

"Time," ninety points, "It has everything you want in a holiday movie: pleasant, humorous, light, warm, moving, a well-made and enjoyable Hollywood type movie. Of course, it also has Anson Wood—God, who can refuse Anson Wood?"

"The Hollywood Reporter," ninety points, "Although the movie is over two hours long, believe me, you won't notice the passage of time, like Mary Poppins' magic, a snap of the fingers can let you enjoy a silky and pleasant time, it can even calm down Christmas family disputes."

"Variety," eighty-nine points, "Charming, light, humorous, warm. Undoubtedly. This is Spielberg's most entertaining film in recent years."

"The New Yorker," eighty-five points, "The whole movie is like a light and unburdened dessert. You will love it and continue to savor it for the next few days."

"Vanity Fair," eighty-three points, "A movie that makes people dance and feel happy, but the movie is really too long, so it missed the opportunity to cross the finish line at just the right time. Fortunately, Anson Wood uses his charming charm to make up for everything, allowing the audience to continue to sit comfortably in their chairs."

"Anson Wood is a handsome guy."

Some people agree and some people disagree. Although the voices of agreement should have an overwhelming advantage, personal aesthetics are just like that. Some people like beards, some people like small bellies, some people like wildness, etc., etc., not everyone likes Anson Wood.

However, no one can deny the charm of Anson Wood in 'Catch Me If You Can'—

It's not the appearance, but the temperament.

A complex temperament that mixes innocence and maturity, sunshine and fragility, cheerfulness and cunning.

In previous works, Anson Wood has always hidden his appearance advantages, trying to get as close as possible to the role and avoid breaking the balance of the story; but this time, Steven Spielberg put the spotlight on Anson, allowing and encouraging Anson to fully display his personal charm.

This is the first time that the audience has seen Anson with different sides and different styles, but without a doubt, this kind of Anson awakens the memories of classic male actors from the golden age of Hollywood. They not only have the appearance but also the charm, and also have solid professional skills. They make the big screen look different.

So.

If you go to the cinema to watch 'Catch Me If You Can' for Anson Wood, this is a good idea.

If I were to list three reasons to go to the cinema to watch 'Catch Me If You Can', let me think carefully—

Anson Wood. Anson Wood. Anson Wood."

This review is completely focused on the actor, unlike "Cahiers du Cinéma," which completely focuses on the director. To be precise, the spotlight is on Anson.

Following "Spider-Man," Anson has once again become the focus of heated discussion in Hollywood, and has reached a new level.

Then, the entire Hollywood launched a full-scale hot discussion.

For a while, everyone was talking about Anson, and the grand occasion after the release of "Titanic" reappeared.

Praise. Frenzy. Heatwave.

The scene that Warner Bros. has been painstakingly searching for and waiting for has finally appeared, but it does not belong to "Harry Potter," it does not belong to "The Lord of the Rings," but it belongs to Anson.

From the summer season all the way to the holiday season, Anson is becoming the biggest highlight of Hollywood's full rise in 2002.

So, is this a pleasant surprise or a standard ending?