First of all, to clarify a concept: The director of Spy 1 is Doug Liman, who is the initiator. The Spy 2 has had a new director, Paul Greengrass. Spy 3 is also him, and it is still him who reappears in Jianghu to direct Spy 5. Therefore, our landscape films have two styles, the Liman version and the Paul version. As for Spy 4, I, like everyone else, deny its existence.
Then, we have to sort out the outline of the story.
Spy 1: Looking for memories. Byrne was injured and fell into the water and lost his memory after being rescued. The story revolves around "Who Am I", encounters the heroine Mary, drags her into the water inadvertently, is chased and killed all the way, and finally escapes successfully. The Li Man version of Spy 1 pays special attention to details, and the ins and outs are clearly explained. Even when the characters walk on the street, they slowly walk from the street to the end of the street. When photographing a train entering a tunnel, it is also photographed from the front of the train to the end of the train. Doug Liman is definitely an intellectual young man, a fan of details, and a Jin Yong style.
Spy 2: Find the identity. The reclusive hero and heroine are discovered, and Mary dies Bourne's revenge. Byrne was framed for murdering people in Berlin, and during the course of the investigation, he found his identity and killed the killer who pretended to be him. Then, continue to flee. It is necessary, there is no way to make a sequel if you don't escape. Paul Greengrass likes to play without a trace, the camera always flashes by, leaving countless audiences to review their IQ in the theater, and have the same virtue as Gu Long.
Spy 3: The truth is revealed. Byrne travels to Paris, London, Madrid, Tangier and finally New York City to track down the killer behind his girlfriend's murder. The CIA will send stronger, more cold-blooded killers to hunt down Bourne. Of course he didn't kill them, of course he killed everyone and ran away by himself. Otherwise, where did Spy 5 come from? A strange twist in this episode: Paul Greenglass fell in love with aerial photography. Every time the protagonist changes places, it must start with a panoramic aerial shot. Even if you are chasing on the street, the camera will be quickly pulled up, giving you an aerial shot. It is said that his film fame is about a young man who wants to fly to the blue sky all day long, and it is estimated that it is his most real spiritual selfie.
Spy 5: After 12 years, Byrne, who had remembered everything, was summoned by the female CIA leader and returned to the arena. In the case of no filming, Byrne's father appeared, and Snowden also appeared repeatedly, as well as the subprime mortgage crisis, financial collapse, cyber war, and CIA global surveillance all appeared in the plot. As for the story, compared with the previous three episodes, it has been weakened a lot. Moreover, Byrne didn't die in the end, and left the audience with a leaving back.
Finally, we can follow Bourne to explore Europe and America leisurely.
Barcelona: The first city to appear in the spy series, the Italian captain who rescued Bourne put him on the city's pier. The houses are dense and messy, and the colors are also messy, mostly light-colored, pink, light-yellow and egg-green, and some are old, like the color that has faded after being washed by the rain for many years.
Zurich: The first city in which Byrne traced his identity to arrive. Empty, cold, and snowflakes floating in the sky. The houses on the street are still pink and light yellow, but the colors are lighter, the spacing is loose, and there is a relatively overall sense. Zurich Gomanscha Bank is dark grey, and the rugged stone walls give a sense of heaviness. Bourne, who got the fake identity, began to walk through the streets of Zurich. At this time, we can see the city clearly. It is very organized. The buildings prefer light colors, and people's clothes prefer dark colors.
Paris: Director Li Man's favorite city. Everything is so beautiful, beautiful morning, beautiful white buildings on the banks of the Seine. The camera scans slowly as Byrne takes Mary home. During the tense and long process of chasing, fighting back, and running away, every building on the street was beautifully swept by the camera, and the colorful paintings on the glass windows were clearly visible. In the drag racing footage, the ground is clean on every street and lane passing by. This is Paris. Paris at night is like a beautiful and refined lady, and the statue of Joan of Arc on the Louvre Square in the morning is like a fairy tale. Spy 1 Finally, Byrne will unlock the address agreed at Pont Neuf Paris. Once again, the camera slowly sweeps across the bridge deck, across the Seine, Paris City Hall and various buildings. Spy 1 is definitely a Paris scenery film.
Rome: The city that flashed by in Spy 1 is surprisingly dirty.
London: London, England, where the lights are everywhere, the CIA branch. In Spy 2, the female leader Randy, who was deceived by the bureau and took Bourne as a murderer, arranged to hunt down Bourne. Spy 3, director Paul, who fell in love with aerial photography, took a bird's-eye view of the Guardian building, and the street scene was clearly visible. The tall buildings with glass facades shone with cold light, and it is not difficult to see that London is an old-fashioned city with a gentleman's demeanor. Waterloo Station, aerial photography. Street view, aerial photography. The sunlight dazzled the eyes of two rows of white, old-style buildings, with a shadowed street in the middle. On the Rhine, a close-up of a car flashed by, the camera was quickly pulled up, and the aerial shot was frozen. The killer appeared, driving through the streets of London, dark red facades, arched door after door. Byrne made his way back to London after wandering around in Madrid. It is still aerial photography, majestic, the buildings with spires are scattered, and the pictures are beautiful. Walking into the street, although the outer wall of the building looks old, it has a sense of history, like a gentleman in an old coat. The director finally became patient. Even during the drag racing, he could freeze the camera a few times and slowly sweep across the dimly lit buildings. From this we can see that London is more modern at night than day. Spy 3 is a London scenery film.
Madrid: In the middle of London, the city is interspersed. Still aerial photography, still freeze frame. After looking at London for so long, the city is too far off and a little messy. The streets of Madrid at night remind me of Xiamen, and this association is not very reliable.
Berlin and Munich appeared in Spy 2, and the street scene was swept away. In a quick scan, we can still catch a glimpse: the architecture of these two cities cannot compare with Paris in terms of beauty. However, an aerial photo of Berlin surprised us to find that this city should be a straight-forward city in our minds, with two beautiful rivers and beautiful scenery. It's a pity that from the beginning of the spy 2, the rhythm of the music has been so fast that the band is exhausted.
MOSCOW: Paul Greengrass doesn't seem to be in such a hurry, a panoramic shot of Moscow's railway station appears, spectacular and grand. The camera slowly scans, the railway station, the Red Square. Even when the car chases and runs away, the camera occasionally stops to give a close-up of a surrounding building. At the end of Spy 2, the injured Byrne walked slowly on the streets of Moscow, and the camera finally fixed on a row of uniform gray buildings. Very familiar buildings, around us, can be seen in every city. The beginning of spy 3, followed by the end of spy 2, continue to the Moscow railway station. The camera pauses for a few seconds during the rapid running, and the eight railroad tracks under the train station overpass are clearly visible. Moscow Railway Station is famous all over the world, and I didn’t expect Hollywood directors to be its fans. About Moscow, we only remember its railway station.
Tangier: In Spy 3, a killer named Dash appeared and took us into Tangier, the famous capital of Morocco. The killer rides a motorcycle instead of a car, so the camera flashes back less quickly. Panoramic aerial photography, the colorful colors of Tangier remind us of Barcelona, which appeared in Spy 1, with dense houses and various expressions. The streets are not much modern, but very clean, much cleaner than Barcelona. In the continuing pursuit, we have a full view of the maze-like Middle Eastern buildings in the old town of Tangier. In the process of Bourne's flying over the wall to save the beauty, we saw that the density of Tangier's buildings is enough for everyone to leap on the roof as if walking on the ground.
After traveling in Europe, two cities in the United States should be mentioned.
New York: Spy 3 At the end, we follow Bourne across the Hell's Gate Bridge. There are many tall buildings in front of us, and the glass facade is covered from head to toe, but it is not like London with a cold light, but a dazzling and warm light. The streets of New York are bright and spacious, and the distance between buildings and rooms is wider than that in Europe. The white residual snow on the bare branches in winter makes the spaciousness a bit chilly. The color of the building is not much, and the granite exterior wall feels solid and stable. When the chase enters Chinatown, the streets become narrower, the buildings become shorter, the colors are chaotic and the arrangement is disordered.
Las Vegas: A super-long car chase after The Spy 5 is in Las Vegas. My ears are full of the sound of car motors and brakes, my eyes are full of overturned passing cars, and I can't see anything in the street view. Spy 5 is not a scenery film, but a car commercial. As soon as a word disagrees, the car races, and various famous brands compete to appear. I don't know what car Bourne and the killer were driving in Las Vegas. Like a bulldozer, they knocked over about 20 cars in a row.
If Spy 6 comes out, I will definitely not pursue it.
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