From the initial setting of the film's plot, it is not difficult to find that in addition to the original " The Caller ", the shadow of " The Butterfly Effect " and " Coherence " can also be seen in this "The Call" . When the audience saw Young-sook rescue Shu-yeon's father, who died in an accident in 1999, they would instinctively think that the film would be a family-related trend, and this is where the film is full of novelty. Towards downright horror.
The shaping of this sense of despair is first and foremost from the solidity of the text of the movie play. In the film, 1999 can be called The Call to 2019, but it cannot be called back to 1999 from the time and space of 2019. What happened in the past can change the future, but the future cannot control the past. From the first call for help that Shuyan received, she seemed to be able to rescue Yingshu, and she has become a lamb to be slaughtered. The film is filled with a sense of oppressive suffocation from the beginning of the third, until the end is completely black.
The role of art in the film is indispensable. From the lighting and composition of the picture, the situation the character is facing at this moment can be clearly judged. This is clearly reflected when the car driven by Shuyan and her father drove into the tunnel, and the charming rural scenery suddenly turned into darkness. The most desperate plot in the movie happened at this very moment. The film text and art techniques of a commercial film have little to do with artistic creation, but reflect the maturity of the film industry as a whole. Looking at the leopard in the tube, it is not difficult to see from the film "The Call" that the overall level of the Korean film industry is quite complete.
If the mature and complete technical work is just the flesh and blood of the film, then the performance of the two heroines has undoubtedly injected the soul into the film. The fate of Seo Yeon played by Park Shin Hye is always decided by another heroine, Young Sook, so there is not much room for this role to play. So the role of Shuyan is relatively easy for her, and she has completed a weak and frightened female image very well.
The other star, Jong-seo Jeon, is not as good as Park Shin Hye, but her character Young-sook is the one who decides the plot direction in the movie, and as a perverted serial killer who was brutally treated by her stepmother, Young-sook's flawed personality and neuroticism are very bad. It's easy to overact, and Jong-seo Jeon's touch is just right. It's hard to find Jong-seo Jeon's highlight moments even from the movie, because she plays with ease throughout the film. When she was abused by her stepmother in the early stage, Yingshu's character actually exuded a strange feeling. When the camera closes up to her back, which was injured by Momogi's whipping, the distorted posture makes Yingshu put on a layer of sympathy from the audience. Nervous coat. In the later period, Shuyan's mother and the police came to the door, and Yingshu sat on the sofa by herself, boredly watching the countdown to the New Year's Eve, the two contradictory emotions of nervousness and laziness merged in her. The actions of Ying-sook hide Ying-sook's murderous intention - Jong-seo Jeon's performance is still at the post-star level in a purely commercial film.
Of course, there are flaws in the film. For example, in the film, the words that the police wrote on the notebook in 1999 appeared in the future, and when the objective facts of the past changed, only the memory of the heroine Shu Yan was not updated. But there are more or less small problems in logic and details about genre films that are interlaced in time and space, which are all flaws. The film maintains the refreshing feeling of the viewing experience throughout the whole process, and sacrifices a part of the in-depth excavation of human nature. , "The Call" has done beautifully enough
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