- Oliver Stone's "Born to Kill" film
review
shows, etc.) to character modes (like Indians, and maybe some spiritually related mystic "heroes" that pop up when Mickey and Melorie finally burst out of prison, etc.), to plot modes (except end). In addition to this, the extensive use of collage footage and montage also makes the film unique. Stone has always been regarded as an outlier in Hollywood. Most Hollywood directors play within the system, and he often plays on the system. While many times—whether in films like "Kennedy" or this one—his work is anti-establishment, the finished product itself does not transcend the Hollywood industrial establishment and become something else that is truly sublimated, but capable of It's really not easy to do this step for him.
The implication of this film through violence may be simple: because the civilization created by human beings can no longer support its healthy development, it is better to let it be destroyed and return to freedom. In the film, the two killers do not kill the children and feel remorse after accidentally killing the Indians. From one perspective, it can be understood as a compromise to the “social trial group” represented by ordinary audiences (not killing women and children is a common moral bottom line; while protecting non-mainstream humanities is an emerging trend). From another perspective, the child has not yet grown to become a real participant and builder of "civilization"; the Indians are (or represent) an existence outside the "civilization" that should be killed. Therefore, they are independent of the killing and should be preserved.
Although the film depicts violence throughout, it is a metaphor for a moral theory of "salvation", which is only shown in a distorted way under normal conditions. The doctrine itself—so astonishing in the way it is practiced—has long transcended the definition of morality, but as a point of view it is always worth exploring. Mickey and Melorie's poetic temperament and killer essence; through the director's exaggerated rendering, they become sinners and idols in the film at the same time; the identities, relationships and actual trends of all the characters in the film... All of these, when the viewer puts them together When extracted from the dislocation of the story's surface, perhaps the director's true intentions (or thoughts) will gradually come to the fore. And then what you see from this movie may be closer to its real taste.
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