C’mon C’mon movie review | Wakeen Phoenix in Poetic Drama

C’mon C’mon is Wakeen Phoenix’s latest film after two years. A poetic and tangible drama that has portrayed its world in black and dim dimensions. Be with Zomji by reviewing this film.

C’mon C’mon is a highly entrenched film that removes the usual clichés of airy stories. A work whose elements are intertwined to intertwine with each other in order to express themselves as poetically as possible in a defensible structure. For two years, Wakeen Phoenix has left only the image of the Joker in his mind, in this film, he shows a masterpiece of himself; And it goes somewhere beyond the character of the Joker. Phoenix has reached something more than a show in a hurry, and the audience does not know what he is drowning in.

C’mon C’mon is a simple but overwhelming depiction of human life. A story that, in its seemingly carefree appearance, portrays the subtle trauma of human relationships and draws the audience into the tangible stories of adults. This show is one of those movies that you can immerse yourself in, go on a long journey and live it for as many seconds of life and enjoy it twice as much. The overlap of C’mon C’mon’s form and content is so great and glamorous that even those who do not have a good relationship with feature films and low budgets will eventually succumb somewhere.

Excerpts from the film’s story are revealed below

C’mon C’mon, in a different world, demonstrates his biological intelligence. This world is shaped by pain, blows that the audience may find very difficult to reach but will eventually understand what it is. The film, starring Joaquin Phoenix, is a radio documentary that travels around the country asking children questions about their hopes and future prospects. During this project, circumstances arise and he is forced to continue his journey with his younger niece Jesse (Woody Norman). This is the beginning of a deep journey, a journey that gives a tangible view of life and confronts the audience with things that they have always lived with and gained a visual understanding of.

The original idea of ​​the film is a simple idea without the misleading dramatic plot, the story of an adult and a child who start a road trip under certain conditions, but as soon as this journey begins, the story begins to take shape and reaches an extraordinary payoff. This story has a revealing spirit and deals with an aspect of human behavioral and psychological psychology. Stories that begin so quietly, usually behind a one-line solitude, depict a vast array of human experiences, and the filmmaker expands the poetic and tangible life he carries in his subconscious as simply as possible and makes the book readable. And provides a textured painting to see and touch.

C’mon C’mon is an inner film and the audience should not look for a specific and complex story in the appearance of the story. What demonstrates the director’s genius in the film is a rhythm that can not be described at all, in a work where everything is internal and its situations are a reflection of the real events of the lives of ordinary people. There are no boring points and the viewer will not understand the passage of time. In my opinion, this can only come from the correct overlap of form and content. In C’mon C’mon, we have a simple story that continues to move by moving as slowly as possible. But what happens when this simple story takes on a good, non-uniform rhythm and draws the viewer after it?

One of the reasons for this will be the inner rhythm of the plans. In fact, we are dealing with a film that is devoid of the stressful acts and challenging twists and turns in its script, which play with the adrenaline of the audience. But on the other hand, the director has raised the tension with his clever framing and mezzanine. For example, in the early scenes of Zoodbash Zodbash, the audience is confronted with a series of interviews and voices. Questions and answers exchanged between Johnny and the children. But the scenes that are captured by these conversations increase the rhythm of the interviews and leave the audience excited. For example, in one of the plans, the train passes horizontally and from a perspective in a location with a background of towers with small and vertical windows. What does the audience have here? Interviews that may seem incomprehensible to him at first, and images that are powerful stimuli to speed up the rhythm and create challenges for him.

In most of the scenes and plots of this film, there is a mise-en-scène element to bring the story to life, which raises the rhythm and saves the film from monotony. If we are careful, the director worked with very fine lines and was able to achieve his desired rhythm in this way. Of course, using vertical and horizontal action is one of the skills of this filmmaker to achieve a proper rhythm. C’mon C’mon knows well where to use the fixed frame and where to move the view to achieve this goal.

Crowded space, the way the stage equipment is arranged, the number of people in open environments, etc. have also contributed a lot to the good rhythm of the work. Hurry up Hurry up, to realize his world, he knows how to drag the bored viewer of today to the end. Knowing that his screenplay is static in appearance and does not seek to create an engaging audience, the film invests in a form that can push itself forward and bring a powerful rhythm to its presentation.

Wakeen Phoenix is ​​the capital of C’mon C’mon. Given that the audience last saw him in the Joker and Phoenix took home the Oscar for this character, the viewer will definitely remember him as a man drowning in madness and misery. An actor can present a good hellish character when he comes from a deep human story. He owes his success in the hurry to the character of the Joker, because Phoenix has gone to the end of evil and madness and touched all the bad things, now he finds himself in the character of Johnny to the last point of a trusted and supportive person and something beyond the Joker. He portrays himself. Wakin plays very honestly and brings back our tangible experiences on the floor of a completely real and vulnerable life.

In fact, this actor has taken the helm of an important part of the show. He does not sleep like the actors, he worries like himself, and he conveys his fears more normally but more honestly than any real human being to the content and worldview desired by the director. Phoenix’s play is a sign of a deep liberation from his most personal psychological dimensions. An actor who can go from a madman to a normal character and animate a real story so intensely in a film structure is definitely an artist who has a deep understanding of cinema and has lived with its stories. Wakeen Phoenix is ​​a kind of rhythm for this film, a rhythm whose repetition adds to the consistency of a simple story and in the mind of the audience, launches a bold game with a familiar story.

C’mon C’mon is a special adult film that takes children’s feelings, hopes, and concerns seriously.

C’mon C’mon base and column are based on pain. The blows that we have all tasted in our lives. Vivo (Gaby Hoffman) sends Jesse to Johnny to help his wife Paul’s panic attacks, and Johnny and Vivo’s relationship has cooled in the past due to their mother’s death and dementia. These two events are the driving force of the drama that develops itself on the bed of relationships and considers the root of the bitter events of life in the experiences and traumas that have played the human psyche. The film touches on a wide range of relationships and delves into the lives of people whose relationships have struggled. Jesse and John’s relationship is the deepest and most delicate relationship in this film. As an adult, John is in touch with children and their aspirations for the future, and now he has to face his main challenge, entering the world of children.

Norman, who plays Jesse, has been completely abandoned by the director so that he can powerfully connect his deep, childish world to the adult world. John hears about the future in his interviews, but Jesse is a mirror of the past and the present and does not want to talk about his future and his hopes easily, because he is suffering from severe stress in his own psyche. C’mon C’mon is a special film with an adult tone that takes children’s feelings, hopes and concerns seriously. The film approaches children from the point of view of adults and comments on children in our adult language. In my opinion, this is a great success for this work, which has made the film stay away from clichés and, like other shows in the world of children, do not form its own structure. Zodbash Zodbash is made for the fear of adults and knows that in order to be more effective, the world of this spectrum of people must be targeted.

Adults in this film shape the character of children. Because Jesse did not have a good relationship with his mother, he would like to play the role of an orphan or die himself so that his mother would no longer have children. The interviews, which make the film a pseudo-documentary, point to the same thinking, and point out how previous generations were supposed to prepare children for a troubled life. These children wish that the planet would not be destroyed or that adults would be able to take good care of their lives.

When we come out of the relationship between John and Jesse, we will see a family that is falling apart and their relationship is going through dark days. People who have had problems with their previous generation and still can not communicate properly with their children or keep their partner by their side. John’s family represents all the people on this planet, those who are going to sacrifice themselves for the next generation, and how beautifully the film ties the’s family’s story to the children’s dream interviews, and the problem of these relationships in not asking and not listening to each other’s pain and needs. Summarizes. This film is a sincere and honest drama that with its black and white visual graphics, adds dramatic and controlled sadness to people’s lively lives so that it can add more color to its shocking content.