muscle actor

Chapter 450 It Doesn't Matter To Try

Ding Cheng sighed. After the Washington Post, he finally took the lead in a good work that reflected social reality.

Unfortunately, there are still many regrets!
For example, from the perspective of the protagonist, setting up layers of obstacles to achieve the goal, the statement of the facts and images in the film, the lawyer team, and the support of his wife, these constitute the resistance and driving force to move forward, deepen the emotional factors of the incident, and thus from the side Highlight the brilliance of the protagonist's humanity.

Therefore, his image in the film is three-dimensional, and the frequently photogenic wife and the manager of the office can also stand upright through some clips.

On the contrary, the description of Dupont, the antagonist, is a bit simple. In the first half, only the leaders of Dupont appear. In addition to the court scenes, Dupont's actions are almost learned from the dialogue. The biggest enemy standing opposite the protagonist cannot help but be flattened. .

On the one hand, director Todd seldom touches on documentary films after all, and taking people as the basic unit is his consistent approach. Taking the protagonist as the basic unit to expand the impact of events is understandable for the director of literary films, and the emotional impact on the audience has not weakened.

On the other hand, it comes from the direction of event adaptation movies. In the processing perspective of social event adaptation movies, group portraits and personal perspectives are very common, mainly due to the desired effect of the director or the entire production team.

The reason why "Spotlight" won the Best Picture at the 88th Academy Awards was not based on simple empathy with personal emotions, but also on the significance of the social event itself and the calmness and restraint of the characters and group portraits to highlight the social impact of the overall event and further bring it closer. The audience's favor does not need to be deliberate or sentimental.

Ding Cheng believes that most of the breakthroughs in social events are themes of resistance. This type of film needs the audience to establish a relationship with people, and sometimes it can be portrayed in a more dramatic way. can also be found in

The director designs a kind-hearted and dedicated image to appear vividly on the screen. Repression and then promotion or first promotion and then suppression and then promotion are also the key techniques for shaping characters. The same event itself is a process of promotion-depression-promotion. Typical events affect the audience's emotions. The convenience of recognition is fully reflected.

A movie that can reflect this event and inspire the audience is a qualified event-adapted movie. To achieve this, the Hollywood industry seems to have a unique advantage.

Calm narration, restrained style of writing, proper individual shaping and timely speeches, the pursuit of smooth script, embodying the core of the story, and abandoning the author's thinking style can't find a place in the pursuit of authorship art films, but the studio The simple and straightforward emotional core built in the dimension will be especially suitable for ordinary audiences.

There is no doubt that the topical significance of the film exceeds its artistic value.South Korea's "The Melting Pot" is an outstanding representative of the promotion of society and the legal system by movies, which directly promoted the government's introduction of the minors protection law.

Hollywood also likes to put a real event on the screen, so that the audience can understand the whole story of the event, which will undoubtedly strengthen the public's vigilance and monitoring of the government and companies.

I am not a savior. I made a good start in China, but it is a pity that I did not continue to keep up.A really good realistic-themed movie requires the producer to insist on realism from the bottom of his heart. There may be realistic themes, but at present it still lacks realism.

I have to say that the director's performance techniques are relatively ordinary, which makes people feel bored easily, because there is no emotional coherence.If it is said that a series of details kept people's emotions on a level line in the first half hour, the last half hour was a bit far-fetched, and even the ending did not pull a climax.

Although the scenes of husband and wife quarreling and fainting and being sent to the hospital are deliberately arranged, but the story has progressed to such a stage that the audience can no longer be attracted by the plot outside the main line.

Some plots are unconvincing. For example, when the lawyer takes over the farm case at the beginning, the film’s motive is nostalgia, and it uses “Country Road Take Me Home” to exaggerate the emotions. Although it is touching, it is not intellectually convincing.

The last half of the characters are all in a waiting state, and the result of the waiting is DuPont's repentance. As a senior lawyer, didn't you think of this at first?
In the film, Bilot puts all the responsibility on the government and DuPont. This is an emotional catharsis. If the film makes some technical explanations in the front, such as DuPont’s lawyers have found a legal loophole and left it as a way out, then DuPont The company's sudden repentance is very convincing.

Because the director used [-]% of the screen to fill the cold and gloomy blue tone, a large number of subjective shots stayed in newspapers, book pages, photos, and screens to reflect the complexity and difficulty of investigating and collecting clues.

The time span is very large, the atmosphere is dull and oppressive, and the black water in society is really bottomless.The string of numbers at the end of the film is shocking.

Of course, the strength of the director is obvious to all, and the lens composition of the relationship between the characters is also exemplary, showing the confrontation relationship and marginal situation of the characters in a textbook style.The overall sense of rhythm is also interlocking. In the two-hour film length, although time can be felt physiologically as time progresses time and time again, whenever the audience feels that the case will end like a routine, the timeline is ruthless. The progress of crushing and cases exceeding our expectations time and time again, and breaking the system will refresh the audience's motivation to watch.

But at the same time, focusing on small individuals is a double-edged sword, and it may also become the biggest factor restricting the pattern.When the perspective is determined to be one-sided, the storyteller can empathize the audience to the greatest extent through some private details and emotional shaping, but at the same time it means losing a broader narrative space and a more objective perspective. presented.

Restraint and depression in the overall style, to a certain extent, a subtle remedy for objectivity.However, in the presentation of the characters, it is inevitable that the group portraits are thin and close to the protagonist.

In social films about the search for truth, empathizing with the audience and weaving a more or less addictive emotional illusion will always weaken the power of truth.

Although the lineup has the potential to compete for Oscars,
But in the end, Ding Cheng was not very optimistic!
(End of this chapter)