In my opinion, Bong Joon Ho's "Mother" is very unusual, ostensibly to show a bizarre small-town murder (completely a crime thriller by genre), but in fact, in the process of telling Delayed, focusing on more and wider things, not just staying in the narrow vision of the established thinking size (for example, only making a fuss about "crime" and "family affection"). Therefore, it can be said that the film "Mother" is surprisingly thick, and has become a modern, oriental, "social" metaphor. In general terms, this metaphor is about people's distrust, endurance and limits, about the coldness of (social) mechanisms, about the survival of abnormal people, about the cruelty and unknowability of truth, and about the horror of memory and the necessity of forgetting... … These kinds of questions, in fact, seep into the individual fate and grand narrative of the film. Therefore, the camera has to wander in twists and turns, trying to show the multiple layers of a social fabric, showing the various states and possibilities of people, rather than the usual reasoning and crime film, after the thread is stripped, it must go straight to the main point (Finally, We still can’t guess the ending, but we seem to experience more things and feel deeper). Of course, what needs to be said most here is that this "very urbane" characteristic is also infiltrated into the audio-visual language of every place. (1) The paragraph I chose is about Zhen Yu and Yuan Bin, who were dissatisfied with a professor and his colleagues who ran into someone with a car, waited on the golf course, and then shouted and chased after this group of so-called "high-class people". It's lively. This section is the earliest "small climax" of the film, which appeared in the first six minutes, and it is worth mentioning. First of all, the entire paragraph fully demonstrates the director's control. From "lurking" to "chasing", from the vast long-range perspective to the "cold switching" of close-up close-ups, etc., whether it is the scene scheduling or the movement of the camera, or the actors' actions and the incorporation of lines, they all seem to be very light. Smooth and skilled, the details are even more exquisite. From the very beginning, the audio-visual of the first shot is quite powerful - Zhenyu appears on the horizon from the valley, (this is the third-party perspective), the camera slowly slides forward, getting faster and faster, Zhenyu is far away When he saw something, he quickly leaned down, and the suspenseful and disturbing flute soundtrack also sounded. According to general logic, the way to save trouble at this time should be to cut directly to what he sees, which is simpler and more direct. But the director didn't cut it. Here, he chose an extremely complicated and troublesome long shot - the camera was continuously pushed and shaken, accompanied by the sound of humming music, allowing the vast grass to slowly pass before the eyes, until it moved to the direction of the distant trail. A milky white golf cart came into view, and the camera stopped steadily. If this shot is still a "semi-subjective point of view", the next amazing shot is a terrifying "omniscient point of view" (the camera is almost set to the edge of the field), bringing Yuan Bin, Zhen Yu and Professor The location of a group of people and the "hugeness" of the golf course are undoubtedly revealed, and there may also be some "people watching" (personal guess). And the third shot is extremely abrupt, turning into a close-up of a pile of golf clubs dangling in the back of the car - the extreme distant view of the second shot and the extremely close view of the third shot are very impactful. "Intertextual" effect. The fourth shot depicts the "ecology" of the professor and his group in the car. With just a few seconds of precise tracing inside the lens, you can vaguely guess the identity, status and relationship of these people. Here, it depends entirely on the choice of scene (close-up) and the arrangement of the internal position of the lens (two in front and three behind). ), as well as the appearance and expressions of the characters (the arrogant old man in the front passenger seat is definitely a professor, the driver is a colleague, and the two men and one woman in the back seat are attendants), the most difficult part here is that there are both humorous Hidden inside, and faintly revealing the interpersonal flow of the real world, it seems like a big deal. Here’s one more thing, Feng Junhao wants to describe the tragedy of “non-social people” (“mother and son” as a model of breaking away from the normal social network), and its foothold must be a strong sense of social reality. For example, the whole film is cold in temperament, dark in style, and repeatedly prioritizes "realism", and even in some passages, the revealing of true cruelty is horrifying. However, this paragraph is slightly different—the “truth” is inserted into a kind of cold humor that is quiet and troubled. On the surface, it looks interesting, but when you think about it, it’s not entirely the case—the extensional meaning of the paragraph is also an innuendo. Some form of social injustice - a university professor, backed by a group of touts, goes to a luxury golf course, hits and hurts someone but is fine, while a joke "revenge" makes a poor family who can't open the blame to pay Its huge car repair costs (what is the reason for it?) - just these, the director hides them in the depths of the narrative (potential undercurrent), not special, and not easy to detect. Returning to the analysis of audio-visual language, the passages behind the trail and the woods use the prop of "moving car" very cleverly. Let the camera keep sliding, with Yuan Bin and Zhenyu running and moving holding wooden branches twice, gradually creating a slightly joyful tension and atmosphere. For example, many shots are shot on the car, which replaces the subjective perspective of the person in the car, and is accompanied by a 90-degree panning lens when the car turns (because the person's neck can twist), and the next counterattack The shots are all inexplicable, bewildered close-ups of the gang (and even collectively turning their heads). In addition, when the car (camera) is close, the person (Won Bin) retreats, the car (camera) is far away and the person (Jin Woo) chases, and when Jin Woo chases after and throws a stick on the car (subjective shot), There was even a frightened "Ooh" shouting from behind the camera, which turned from low to high. As a result, the whole scene seems a bit funny and more "immersive", and the "clanging" musical instruments in the background obviously have the effect of fueling the flames and setting off the atmosphere. The last very long shot, where Yuan Bin and Zhenyu beat up three "respected" middle-aged men in one go, is very exciting, especially in the middle of Zhenyu who secretly threw the cue into the lake, and the shot followed the cue to "puff" After entering the water, he turned back in a hurry and continued to pay attention to the scene of their scuffle. In fact, the reason why this section is shot like this is not just to show off your skills, but to balance the grammar of "long and short sentences". In other words, the balance between long shots and short shots is the key to the "rhythm" of the entire paragraph, and it is also an important part of whether the final "flavor" can come out. So let's look at this paragraph again. At the beginning, it was a 22-second long mirror (outlining the entire space), and I don’t know if it was a coincidence, but the final scuffle long mirror was also 22 seconds. In the middle, most of the front and back shots (although they are rather weird front and back shots) are all 3 to 4 seconds each, and they are quickly edited together, making people dizzy, and there is an ups and downs near the end (it is a 12 The side panorama and mirror of Jin Woo chasing the car in seconds). The basic rhythm trend of the whole section is "slow-fast-slow", the beginning and the end are long echoes, and there is a burst of fast drums and zheng in the middle. Therefore, the psychological feeling of this section is quite exciting, but it is endless. (2) From the plot point of view, this seems to be a very happy "venting", which is an unruly narrative. In fact, it secretly dealt with three narrative tasks, one is to lay the foreshadowing of golf balls and golf clubs (these two props have extremely important clues in the subsequent plot); the other is to deeply depict Zhenyu and Yuan. The character and relationship of the two characters of Bin (one is a strong and scheming bastard, and the other is a naive and ignorant fool, the latter obviously regards the former as an idol, while the former despises the latter); third, A vertical social picture is drawn through a play, the disparate status of elites and disadvantaged groups, of course, the latter will also have explosive resistance, although such "riots" will inevitably be punished, such as Yuan Bin as the bottom , subject to the "cold violence" of the society and law enforcement agencies - the huge compensation for the Mercedes-Benz rear mirror. And this jubilant passage is the "hot violence" jointly carried out by Zhenyu and Yuanbin. On the one hand, it stems from their youthful blood, fearing that the world will not be in chaos, on the other hand, it contrasts the cowardice and loss of vitality of the professor and his group. Without the maintenance of the state apparatus, they can only be beaten. As for Zhenyu, he will do whatever he wants after thinking about letting Yuan Bin bear all the faults (this person is very cunning, there are several details shown in this paragraph, such as deliberately throwing golf clubs into the water, such as advocating scheming attack from behind). In fact, through this rhythmically, relaxed and powerful passage, I can clearly see how a powerful suppression system is ingeniously built in "Mother" (although this passage is actually anti-suppression, and other parts the plot is quite different). As Feng Junhao did in his amazing work "Memories of Murder", to push a person into a desperate situation must first show the untrustworthiness of social organizations (professors, lawyers and other elites are ugly and do whatever they want), judicial enforcement The high degree of untrustworthiness of other power institutions (the police played an extremely absurd and ridiculous role in the case) - thus, the "public power" was completely denied, the "state" lost its basic internal justice, and the entire social system was surrendered Chilling question. The most terrifying thing is that "Mother" is not only discouraged by the concept of "public", but also does not give people the slightest hope in the "private" world. It is still a prison of "others are hell" - friendship is not credible (friends). Recognizing the money but not the person), family affection is also unreliable (the murdered girl's grandmother lived on her prostitution money, but was indifferent to her death; the mother, who firmly believed that her son was not the murderer, finally collapsed under the "truth"). Under such a structure, human loneliness is displayed to the extreme, just like in the scenes at the beginning and near the end, the mother who is numb and swaying in the wasteland, she killed people but no one can tell her, she is afraid that her son will always have One day she will know that she and she have both killed people, and she tries to forget the memory by piercing the acupuncture point in her leg. At the same time, we can see more clearly how the “non-social person” in the traditional sense has been ruthlessly deleted in this layer of trust collapse. First, the mother and son Yuan Bin were constantly discriminated against (the son was indifferent to his mother's concern for him), and the living space was deformed, but the son Yuan Bin was imprisoned because of his grievance. Then, Yuan Bin suddenly recalled something in prison and shouted to his mother, "When I was five years old, you wanted to poison me!" The modeling between mother and son was instantly destroyed. At the end, there is a stronger "weak" meaning of "weak" food - only one weak individual will kill another weak individual - Yuan Bin stoned the prostitute girl to death, and the mother killed the old scavenger. And then, the person who bears the crime, another mentally handicapped teenager, must and can only be a "deranged person" in a society, and it is even more downright - he doesn't even have a mother. In this system, all the elites, law enforcement agencies, and ordinary people are in safe areas. Just like us, we just need to watch their misfortunes and struggles coldly, just like the cold camera. Indeed, I think that Bong Joon Ho in this film is not so much a strong accusation, but a cold stare (he has really cultivated to a very high rank). This kind of indifference without temperature runs through every detail of the lens and audio-visual, as long as you carefully experience it, you can discover its subtleties. Finish
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