When the whole world is talking about the changes that a new generation of technology will bring to the art of film, I think a lot of times, we ignore some of the most basic skills, such as the insistence on the artistry of the film itself.
Feng Junhao's filming techniques have always been self-innovating. From the earlier "Memories of Murder" through "The Monster of the Han River" to "Parasite", which sent him to the top of the Oscars, each film contains complex and mysterious elements. Superb film and television display skills, but what has remained unchanged is Feng Junhao's persistence in art.
It stands to reason that "The Monster of the Han River", as a disaster film, does not really have the kind of bloody and violent scenes that are as shocking and tingling as Hollywood disaster blockbusters. Many times the rhythm is slow, the layout is slow, and the story is warm. Yes, although at the moment when the movie is over, we will suddenly feel a little lost, but when we look back and reminisce carefully, there is always something unfinished, for those slow laying out, for those warm narration, and every beautifully composed shot language of the film. .
Bong Joon-ho's ingenious and exquisite language of the camera lens has reached its peak in "Parasite", but in "The Monster of the Han River", a nominal disaster film, we can actually get a glimpse of it. The former makes us realize that film is the art of editing, while the latter is really the beauty of lens language, a slow artistic aesthetic. At that time, people still had the patience to slowly savor the beauty of the rhythm of the movie, but now, people prefer fast-paced, various dazzling editing skills.
The beginning and the end of "The Monster of the Han River" can be said to be a very representative masterpiece in the history of film in the 1910s, and this alone can be remembered in the annals of history.
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