and any movie about the movie, like the American dream, "to violent year" where the hero has an ambitious, however, and other inspirational narrative positive energy of different , The story of "The Year of the Violence" is full of disturbing struggles, maneuvers and compromises. Director J.C. Chandall didn't turn the movie into a success learning guidebook, but through a deeply anxious fuel dealer, he fully presented the suffocation of the moment of success or failure in the market. In the movie, New York in 1981 seems to be a fascinating place of life and death, where there is both an amazing modern skyline, and black news that lingers in the ears: murder, robbery, corruption...the proliferation of crimes seems to be the whole doctrine. The system has been pushed to the end, but there are people who want to know the difficulties and blaze a trail in all kinds of accusations. Abel Moras in "The Year of the Violence" is endowed with courage and vision. He is the leader of immigrants and the lucky one favored by the Lady Liberty. The crisis brought about by success also waits for an opportunity to lurch, waiting for an unexpected attack. When the family and the industry were about to collapse, he tried to use his godfather-like determination to save the decline.
J.C. Chandall is good at telling stories about small patterns, from a night on Wall Street in the "Storm of Interest" to the modern version of "The Old Man and the Sea" and "Everything Is Lost" in a one-man show where words are as precious as gold. He tried to pass the most streamlined The time and space and personnel are set to reflect the big propositions of the times or human nature. Although compared with the previous two works, the characters in "The Desolate Year" are much richer and the plot is even more twists and turns, the director still did not give up his creative path of "seeing the big from the small". Compared with traditional Hollywood's habit of using breathless narratives to express the crisis of characters, "The Desolate Year" is obviously more able to control the rhythm. The camera travels unhurriedly through dilapidated construction sites, winter countryside, and traffic jams on highways, creating a depressed visual effect. The frequent violent crimes in the morning news of the car broadcast also made the film full of turbulence throughout the film. Contending with all this is the calmness of Abel Molas in the face of the crisis. In terms of overall styling and retro atmosphere, the director does not shy away from the influence of "The Godfather" on the film. Oscar Isaac, who has put on a thick hair oil, swept away the dazzling temperament of "Drunk Country Folk Songs", and tried his best in every gesture. Al Pacino moved closer, and the camera often used top shots and long close-ups to emphasize his leadership.
However, even if he has a kingly demeanor, Abel Molas is just a businessman. The law of surpassing life and death in the gang narrative does not work for him. When he is caught in many crises, he is more like an ordinary person with flesh and blood. A sleepy beast that is not torn. This level of character setting makes "The Year of the Most Violent" full of warmth in the iron and blood, and this warmth has become his last weapon to save the family business. The film spared no effort to show the sincere cooperation and interaction between Abel Moras and his wife, lawyers and other partners. Businessmen have more spare energy to survive the long struggle. He was as polite as ever in the face of competitor's secretly sabotaged tricks. The friendly atmosphere of the tavern and barber shop dispelled the cruelty of life and death in the commercial war, and also cast a glimmer of hope for the era full of desire and ambition.
"The Year of Violence" rarely shows physical conflicts with fists and feet. The so-called "violence" here refers more to the threat of corruption and unhealthy business competition by law enforcement agencies. The former reminds us of Sidney Lumet's " The policeman in "City Prince" abandons the sense of morality, while the latter brings a bit of "Nine Codes" painstakingly studying and making a living, even at the expense of the sword. In a terrible environment, "The Year of the Violence" allowed Abel Molas to fight with dignity and principles alone. He successfully resolved the crisis and completed the commercial expansion, and fundamentally expressed the director’s attitude towards this Praise for the spirit of struggle. Until the uneasy end of the movie, the truck driver who was fired by the company committed suicide because he was desperate for life. The bullet killed the weak in life and accidentally made a hole in the oil storage tank. The black oil gurgled out, and Abel Molas walked around Yin Hong's body on the snowy ground, and calmly blocked the gap with a handkerchief. In the face of life and property, this almost instinctive choice urges the audience not to forget the "other side of the coin". It is also the small actions of the Abel Molas family mentioned in the movie, such as hiding the account book and embezzling it. Vague footnotes were made for public funds. Although it does not hurt the truth, after all, it is a businessman who must compare the baht and baht. The cost of the "American Dream", if not calculated by life and death, is actually quite expensive. However, no matter whether we regard the end of this overtone as a metaphor or a criticism, we cannot shake Abel Molas’s brilliant idealist image in the film. He has already become the best that the worst era can contribute. people.
"Movie World" 2015.1
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