First of all, let me say that I don’t have a thorough understanding of Park Chan-wook’s films. I just talk about it.
Park Chan-wook’s understanding of the language of film lenses is the most profound among Korean directors. This advantage has been maintained until Stoke. I agree very much. The symmetry and circular patterns in the picture analyzed by the film critics in the cloud, as well as the use of such elements as spiders. This slightly metaphorical element expresses and implements every Park Chan-wook film in the way that the characters’ mental status is displayed. The main characters will not be lost like the big whirlpool behind the characters in "Victorious", whether it is the colony of ants crawling on Cui Minzhi's face in "Old Boy" or Jin Yubin in "Bat" repeatedly stabbing Shen Hejun into the mouth. The scissors are all the same. In this Stoke, the spider and the shoes are two functional props arranged by Piao. One is better to express danger + sexual enlightenment (or sexual desire) is close to rising The other is the transition of the protagonist India from a girl to a woman, from a white paper to a hunter. Insert a sentence about the interpretation of yellow + red in the cloud. I agree that this is a deliberate arrangement, but I don't think it is a feature of Park Chan-yu. The functionality of this color is actually similar to the effect of the dark green wallpaper in the house.
Let me talk about the characters again. In my opinion, Stoke is one of the very few films in which Park Chan-wook has problems with the selection and the character setting has a sense of disharmony. In his previous film, Park Chan-wook’s settings for the protagonist almost all formed a triangle relationship. It’s not antagonism, but it inherits each other. My simple definition is: the marcher, the leader, the victim.
Marchers are usually the most important figures in the story, such as Shin Ha Kyun in "I Want Revenge", Cui Min Shik in "Old Boy", Lee Young Ae in "Golden", Song Kanghao in "Bat", and India in "Stoke". They all promote the progress of the story because of their own pursuit of a purpose. Simply put, the story is because of them and the story ends because of them; the guide is responsible for guiding the marchers towards the dramatic direction of the story. In Park Chan-wook's films, it is usually The element of evil that it carries may lead the protagonist onto the line of tragedy, such as Liu Zhitai (the incest brother) in "Old Boy", Cui Minzhi (the teacher who kidnapped the gold child) in "The Gold", and the "Bat" in Jin Yubin, Matthew Goody in "Stoke"; the last is the victim. The establishment of this kind of character is very interesting. They continue to appear in the story because of the guide. Compared with the guide, the victim is often reliable and kind. Even people with a universal value of comedy, but in the middle and later stages of the story, they often fail to end well or end up tragically because they are close to the protagonist. , Kim Hye-sook (Obasan with a sickly son) in "Bat", Nicole Kidman in "Stoke". This kind of triangular character setting is the main structure of Park Chan-wook’s film style. No matter how the theme changes, how the times and regions change, it must be the rule of the game that Park Chan-wook’s movies need to be amusing and admiring in cross talk. Let’s go back to Stoke and take a look. In terms of performance, Matthew Goody can be said to be one and the same. It is very good to support the character of Uncle Charlie. Impeccably, it is like playing Liu Zhitai in the old boy. The two characteristics of the stable black belly of the younger brother's role and the sexy and charming widow played by Jin Yubin in the bat are perfectly copied. Mia Huasikovska’s India character is quite well-regarded. For example, at the beginning and the end, the police’s last killing is more bright. On the contrary, the most well-known Nicole Kidman has a big problem here, but the correction is not based on acting skills. It is from the perspective of character positioning that the role she performs cannot be substituted into the category of victim. More often, the mother played by Nicole Kidman is based on a more western character set as an "informed woman who lacks sex life". On the other hand, in Park Chan-wook’s original film, the important role of "holding" is often handed over to the victim to complete, but Nicole Kidman’s mother role is to free up space for India (the marcher) + Uncle Charlie (the guide) makes the story more of a duo situation. The triangle-shaped character frame is not unchangeable, but it breaks through the rules of the game, lacks support and the two protagonists are both teasing images, but the whole story narrative has lost its balance, forming a tight and weak rhythm.
Just like if the strings are too tight and not reasonably relaxed, they will easily crack. Stoke does not completely raise the audience’s mood to the 99-minute no-urinary point, but from the first shot, it creates "I have a day." The atmosphere of "big conspiracy". This is not easy to cause the audience to be unable to understand the story. Instead, most people quickly accepted the incorrect setting of India and Charlie. However, after the climax of the drama, India turned gorgeously and became a high-heeled killer.
There are too many codes
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