There must be many restrictions for Park Chan-wook's entry into Hollywood, but he still presented a typical Park-style work.
The film once again reflects his superb film language skills.
Almost all are visual narratives, and a large number of visual details challenge the narrative style of dialogue that most people are accustomed to.
The story looks exaggerated, but in fact there are all foreshadowing. The lens relevance is quite strong.
Park Chan-yu's awesomeness has always lie in his "cinematization".
Just looking at the script, you will never know the true face of the film. Of course, Mi Shuai's script still has a good foundation.
Stoker must be a movie that needs to be carefully "watched and listened". It is easy to misrepresent the emotions by analyzing a plot character or only literally analyzing a plot character. You must enter the audiovisual language level. Watching a movie is not reading a novel or listening to a story. As for the "heavy taste" when it comes to Park, I am speechless.
The film has reached a heinous level in terms of the correspondence, echo and editing of visual elements.
It can be said that although his previous movies were expensive to play, there is really no such mass destruction as Stoker in terms of correspondence.
This movie is about "women growing up", which is a bit like "Gold", but a bit darker.
Almost all important visual elements have echoes and double meanings in the film.
So watching this film, it’s not just looking at the surface layer, but at the bottom layer.
For example, in the opening scene—growing voiceovers and some seemingly small and fresh shots, Nima thought it was a small literary fan.
Who knows—everyone who has seen the ending should have chills in their hearts. This is the power of visual element correspondence and even reversal. The same scene has completely different meanings, fully embodying the theme of growth.
There are also shots of blood sprinkling in Quentin's Django, but it's just to show off the scene. And the bloody flower of this movie appeared at the end, corresponding to the small freshness in front, which is simply shocking. In a further sense, the scenes are all for the plot, which is the characteristic of the old Puke, he will not render the scenes for no reason just for the sake of good-looking.
At the beginning of the film, there are a lot of visual details that come to your face. They are by no means meaningless. Most of them are closely related to the girl's growth.
Mom’s shirt, father’s belt, and uncle’s shoes make a girl—every detail has meaning.
For example, a girl’s feet are beginning to blisters. On the one hand, it implies that the shoes don’t fit well, maybe it’s small-the girl is growing up. And picking out the blisters also implies the pain of growth.
A few round stones in the garden, I will explain them later.
Another example is the box on the tree—the yellow ribbon on the box is an important correspondence in the following text.
A close-up of the girl and mother's shoes at the funeral, one is a girl and the other is a woman. Shoes have a very important meaning in this movie, throughout the film. What the snakeskin high heels represent is self-explanatory.
The spider climbed on the shoes, on the feet, on the lower body... the temptation and weirdness of growth.
Lao Pu's recent two films are a bit "foot fetish", and they are the same as Quentin.
The drink also corresponds: ice cream, red wine, and a girl and a woman. From eating ice cream to drinking red wine, the element of growth.
In terms of furniture, the piano is important (the girl did a one-time orgasm there); the pencil for drawing is more useful (including the sound of the pencil wiping the paper); the layout of the mother's room (the abnormal feeling of Nima and the character).
In terms of sound, there are also a lot of suggestive designs.
There are too many, if you want to take a screenshot to analyze the corresponding, you will be intercepted.
But this is also the biggest attraction of the film. Follow one after another interesting, mysterious, and thrilling visual elements to a cruel journey of growth.
In the key storytelling story, the old Pu Ke offered his splendid time-space editing, and he was very excited.
It is rare to see a director so obsessed with this method: constantly telling two or three time and space events at the same time at the climax, flashing in and flashing back and forth boldly. Coupled with the corresponding sense of visual elements mentioned earlier, the simple plot produces a complex and diverse feeling. Whether it's the phone booth chasing, the woods strangling, or-my shit, the scene of that little kid lying on the sand makes everyone fluffy.
For example, the girl repeatedly recalled hunting with her father, waiting for the critical moment when the prey flew out before giving a fatal blow-this is how the girl completed her revenge in the film. It is also the double correspondence of meaning and scene.
There are three core roles in the movie. Among them, the dark force driving the plot is Uncle Charlie, but in fact, the relationship between the girl and the mother is also very worth pondering. It is an important part of embodying the theme.
In the film, the girl finally grows into a woman. In the beginning, the mother, who was a mature woman, acted more like a girl, including showing her sleepiness several times (and correspondingly). These two people were supposed to be the same person, but they took two different paths. The one who is more literary and therefore more powerless has to escape, and the one who is more realistic and able to face oneself so as to truly grow and gain freedom.
The core of the whole movie is quite literary, but the "blood literary and artistic", the posture of women's growth is cold and unhesitating.
Including the final subtitles, with a drop of blood falling, uncharacteristically from the top to the bottom, the impression is that very few movies have ending subtitles like this.
Anyway, there are a lot of things to watch, and because of its corresponding image, it needs and is worth watching a second time.
Stoker thought about it as a whole, I think it's more complete.
Anyway, this movie can definitely satisfy Park Chan-wook's fans.
As for those who are not fans... love whoever you are.
In addition, the feeling of the heroine's expression is too "Mi Shuai".
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