1 minute and 20 seconds of the opening scene, the perverted scheduling is done in one go, the rich spatial levels are progressive, and the emotional contrast brought by the background music makes the audience immediately enter the state - "Welcome to Texas" (actual shooting). location in New Mexico), and at the end the protagonist comes to the fore on a dull cello note, and a heist ensues.
This is the opening of the film. Just like the story of this film, it is gradually approaching the final climax driven by simple love and hate. It is also like the vast loess that runs through the film, and the sadness breeds unruly and rebellion. Watching this film is like unscrewing a bottle of beer, lying on a chair and watching the scenery of Texas, humming drunken folk songs and enjoying the decadence of capitalism.
The fiercest confrontation turns into a tacit mutual recognition
"What you are doing is a good thing."
"No, we are doing it together."
Emotions and circumstances
are like two powerful horses on the grassland, enjoying the last freedom and wildness that the land brings to them. Now that the boom stage of westerns has passed, perhaps for a long time we can only experience the sour western feelings in movies such as "Westworld". The western feeling in this film does not come from the cold gunfights and love-hate feelings, but is rooted in the status quo of the land.
Numerous empty shots with strong subjective meanings force the audience into the "post-western era", a depressed town after the passion has disappeared, dirty pickup trucks are wearily parked on the street, and the desperately flashing neon can no longer be reflected. A touch of prosperity.
After a crazy opening, when the audience thought they were about to enter the familiar desperate world + police and bandit war, the director quickly used an emotional drama to establish the character image: the "villain" cousin came to the mother's residence, bursting into tears. Xuan'er, but stubborn and stubborn. A few simple lines of dialogue between the brothers reveal the deepest character traits of the characters, laying the groundwork for their later motives and endings. Then, in front of the dilapidated house, the director placed the two brothers in a full composition. At this time, the ambient sound was particularly prominent, and the old windmill made a creaking sound, as if the two were living at a standstill.
The director interspersed a lot of perspectives in the film to integrate the protagonist with the environment. This is the film's way of showing the relationship between emotions and the environment. A wider space often means a more free state of the characters, whether it is the old police who track the protagonists. Tan, or two brothers, are driven by the simplest emotions to complete a certain mission, which is also in line with the story rules of traditional western films.
The film does not make moral judgments on the behavior of the characters in the play, but in the end, everyone gets their own belongings. During the period, the ridicule and satire of bank capital, as well as the portrayal of the social state, gave the film more practical significance, which may be somewhat insignificant compared to "political correctness", but "social correctness" arouses deep thinking-live In the present moment, you can't help yourself. So it gave the protagonists an emotional approval for their crimes. Just as the male and female thieves Bonnie and Clyde galloped on the American soil during the Great Depression, indulging in the release of "pure sin".
On the Prairie: Eagle, Horse, and Snake, representing the three main characters in the film
"God's Plain, That's Me"
Cowboys who are unwilling to say goodbye,
even if the difficulties of survival are lingering like yellow sand in the wind, on the stubborn land, the stubborn people continue to write their love for their homeland in a repeated way. One is to make up for the debt to the family and have a clear conscience; the other is to practice one's own rules of survival and live toward death; the other is to ride for the last time before saying goodbye, so that you can end your life. Therefore, this series of seemingly tragic and desperate behaviors can only be completely released in a wider space.
In addition to the protagonist's brother's story line, the police detective played by Jeff Bridges is the highlight of the film, and he was nominated for an Oscar for Best Supporting Actor. Richer character expression. The racist talk makes the stubborn old man flaunt his annoying side all the time. In the hotel scene, after taunting his partner, he dragged his old body and walked in a blanket under the desolate night, which made people very moving. At that moment, you thought of his greatness and strength. Pride, now buried in atrophied muscles. At the moment when his partner died, the fear and annoyance in his eyes dispelled all the inappropriate jokes about his partner before.
The only time the cowboys appear on this land in the film is when they are driving the cattle to avoid the fire beside the highway. Then the camera zooms out, and the backs of the cowboys become small under the halo of heaven and earth. They walk to the horizon, and in the soundtrack The appearance of the melodious and mournful female voice makes this picture seem to pay homage to the past. "These children have always depended on themselves," the old policeman spit out this sentence, like an old cowboy's encouragement to his sad juniors. In the next second, the camera switches to the two protagonists on the highway, which further establishes the protagonist's intentional identity. It also subtly hints at the delicate relationship between the old police detective and the protagonist.
Mouth humming drunken folk songs, enjoying the decadence of capitalism
With my heart, I will accompany you through fire and water
. The dull sound of gunfire cuts through the wilderness, reminding those kind people that some people live here. They wear different skin colors, look up at different beliefs, and walk all the way from the wild land. Come, walk through the prosperity and decline of time, and finally turn the love for this land into a boundless fence, enclosing the beauty that you don't want to lose, and yourself into a long yellow grass, endless life and forever. This may be the cowboy's love poem and ode to the land. At the end of the film, the old police detective and the "criminal" reach a settlement. The cowboys use their own methods to untangle the legal knot, and then use the cowboy laws handed down from generation to generation to fulfill each other.
What moved a big man was the fortitude and courage of another group of men. This "Going Through Fire and Water", which bears the helplessness and struggle of fate, deserves more respect and resonance in addition to the star-studded Oscar.
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