It doesn't matter who the murderer is.
The biggest advantage of this drama is that it gets rid of the routine of "who is the murderer" and "how to flip" in ordinary suspense films.
The concern for the fate of the characters and the discussion of human nature and society far exceed the pursuit of "God's turn".
In fact, in the end, we don't know who the murderer is. Although there are hints that it is the ex-boyfriend of the deceased's financial advisor, the financial advisor is no more suspicious than the protagonist, the deceased's stepfather, the passing black ex-convict, and the hearse driver. The protagonist Naz also said in court that he really did not know if he killed the girl. Maybe he killed someone unconsciously after taking drugs. The jury didn't give a verdict either.
These people are all suspects, and it's hard to say who the murderer is. But after watching the whole drama, I still have a sense of satisfaction, because it doesn't matter who kills, what should be punished has been punished, what should have fallen has fallen, and what will suffer has already suffered.
From the plot setting point of view, the advantages of this play are as follows:
1. As the plot unfolds, suspects continue to appear (the protagonist was found to have a history of violence and drug use, the deceased's stepfather was found to have inherited a huge inheritance, the gloomy hearse driver, and the deceased's ex-boyfriend murdered for money). Compared with traditional suspense films, all suspects are listed at the beginning and then analyzed one by one, which is more tortuous and natural.
2, the change of the protagonist. From a stunned college student to a bald tattooed drug addict, the protagonist's Muslim identity and blue-collar family background are doomed to the pressure and conflict he will encounter. Encountering a murder case only intensifies and centralizes everything. Although he was released from prison, he has been swallowed up by the cruel world. With his state after being released from prison, he may not have the rest of his life after the catastrophe.
3. Details settings:
Cat: There is a series of books that teach screenwriting called "Saving the Cat". The central idea is that if the audience likes the protagonist you create, let him do something good, like saving a cat. Unexpectedly, this drama really let the protagonist save the cat. The protagonist's attitude towards cats is the same as his attitude towards suspects. He feels pity and wants to help. He gave up in the middle, and finally took it home. At the end of the play, the details of the cat walking lightly through the living room warmed my heart. But these are some tricks, there are no other advantages.
Eczema: What would you do if you were asked to create a character who was cute but unattractive? To make this person very vicious? Unreasonable? shameful? The lawyer protagonist has these characteristics, and then the screenwriter gave him a concrete disadvantage: eczema. She had sores all over her body, and she would pick her feet whenever she disagreed. Moreover, he sought medical treatment, drank traditional Chinese medicine, tried remedies, and participated in mutual aid associations (there are mutual aid associations for everything in the United States...), which made the audience feel sympathetic. But it is such an indecent person who insists on justice, insists on being himself, and becomes a lovely character.
Golf: The police officer protagonist's label is "retired". An excellent police officer who has worked for 33 years is about to retire, and his heart is full of loss. His colleague said, "Why are you going? Let's play golf", and he really gave him a set of golf equipment. The police were not happy at all. The only scene of playing golf, his face is also full of loneliness. Who wants to admit that life ends like this? So his obsession became to identify Naz as the murderer, to arrest him and bring him to justice. How old are you, you are not retired.
After watching this play, I really feel that the creator of the story should be freed from the routine of pursuing bizarre cases, turning God, and turning God. If a murder story only cares about "who is the murderer" and then surprises the audience with bloody plots and flips, it will be too boring. (The previous hit Spanish suspense drama "The Invisible Guest" gave me this feeling.) A good story should still make the audience care about the characters, sympathize with them, and hate them because they embody the truth.
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