More than three weeks ago, "Detroit" was released in the United States on August 4, and the film's director Kathryn Bigelow won the 2010 Oscar for "The Hurt Locker" (beating ex-husband James Cameron) "Best Director" Golden Man. It may not be so obvious to the average moviegoer, but because Catherine has been immersed in genre films for many years, she has always been interested in the relationship between crime and social justice - she has always hoped that the legal system can treat everyone fairly and justly , and resolve conflicts peacefully.
Law, order, especially the common responsibilities and boundaries of law enforcement agencies in the performance of official duties, have always been Katherine's greatest concern. When the bottom line of morality is crossed, when prejudice dominates the choices made, the police not only represent lawlessness, but also become a threat to the world and themselves.
"Breaking Point" is the best in the hearts of many fans
She has maintained this focus throughout her film career, and in the 1990 thriller Thunderbolt, Catherine explored the concept of a "vigilante," about a female police officer (Jamie Lee Curtis) (played by Ron Silver) is framed by a mental patient (Ron Silver). In Katherine's 1991 breakthrough "Breaking Point," Keanu Reeves' FBI agent, drawn to the charismatic leader of surfers (Patrick Swayze), has the theme. Also very significant.
Even in the more distant past, Katherine directed several episodes of the theme in her groundbreaking, gritty and influential TV series, "Spring of Reason." Including her first feature film, 1982's "Relentless," also tells the story of a gang of motorcyclists who get into trouble in a small southern American town.
Algiers Motel
Catherine, 65, was nominated for "Best Picture" in 2013 for "Hunting Bin Laden" (as a producer). In her latest work "Detroit", she skillfully applies her decades of directing experience and exploration of film art to the film. This film tells the story of a group of young people facing gunpoint, some of whom were beaten and killed by the police. This film of an extremely painful era has a very disturbing connection to reality.
"Detroit" writer Mark Ball worked with Katherine on "The Hurt Locker" and "Osama bin Laden." The film is set in 1967. At that time, our country was in a special period, and the United States was also in a very turbulent civil rights situation. Racial inequality, assault on police officers and abuse of minorities were the source of the chaos. The film takes its name from the motor city of the American Midwest and revolves around the lesser-known "Algiers Motel incident."
"Hostages" at gunpoint
In late July 1967, police raided an unlicensed club where they were celebrating for returning black Vietnam veterans. When the masses thought they were being "discriminated" (racially) by the police, they formed a small mob. In the days that followed, some of the angriest members began to loot and open fire. Among the crowd looking to protect private property is Melvin Dismukes, a black bodyguard hired by the local convenience store owner played by John Boyega, who appears to be heading in the direction of Denzel Washington, and is the story of calm in the story. moral observer.
One night, the turmoil ruins a very important audition between Larry Reed (rookie Agley Smith) and his singing group "Dramatics" and record company executives, Larry and his friend Fred Temple (Jacob). Beau Lattimore) decides to hide in a local motel called "Algiers". Maybe it's fate, they meet Carl Cooper (Jason Mitchell) while flirting with two white girls (Hannah Murray and Caitlin Dever) who playfully He fired a shot out the window, although there was no bullet in the gun.
The soul of the story will be found in the music of 'Dramatics'
This act brings the police, led by Philip Krauss (Will Poulter), to the area, who have no idea where the gunfire came from, but they raid the Algiers motel anyway. The tragedy unfolded, and the aforementioned small group of blacks and Private Greene (Anthony Mackie), who was also black, were taken hostage at gunpoint. Melvin followed, watching from a distance, trying to find a peaceful solution. Philip insists on finding the gun, trying to extract confessions from the people he is holding, and becomes the terrifying little boss in the so-called "game" of pretending to execute them, eventually letting the event spiral out of control.
The setting of Detroit brings the characters to life—especially Melvin, Larry and Philip. The centerpiece of the film unfolds in an Algiers motel, an hour or so in which Kathleen is very effective at getting the audience together with the helpless hostages and wrenching their hearts. It's probably the best thing Catherine has ever directed - it's like watching a horror movie, brutal, unforgiving and disturbing.
Rioters confront police
Any normal viewer would want to see relief and relief from the so-called mistreatment of the so-called cops, but what's especially scary about Detroit is that other authorities, whether state patrol officers or federal Member of the National Guard. They either left the scene directly or stood by. This is also a disturbing reminder to the audience that if good people sit idly by in the face of evil and do not lend a helping hand morally, evil will prevail over justice.
About 20 minutes after the motel standoff, the film was finally settled and the parties went to trial, with Melvin being the accused along with some of the racist police officers, including Philip. This passage actually shows that Catherine's handling of the "warm" subject is somewhat awkward, at least not completely handling the ending. This ending doesn't bring true justice, and it's more heartbreaking.
Anthony McKay
Still, "Detroit" is mostly a riveting standout, with cinematographer Barry Eclaud's signature hand-held camera, full of shifting focus and panning, conveying a jittery energy. Matched with top shooting skills, it is a story full of tension and emotion. The actors are doing very well, especially Poulter, who has the potential to shine in awards season. Passionate directorial skills expertly interweave real-life video footage to further deepen its narrative.
The story of "Detroit" and the message of the "Black Lives Matter" social movement in the United States complement each other. The current race relations in the United States are also quite tense, and the film may still have justice and equality for overseas audiences. In terms of revelation, this lesson is actually full of universality, and the information in the film makes people's viewing experience heartache from the bottom of their hearts.
John Boyega
Some comments from other foreign media:
"Detroit is full of passion and keeps pace with the times. In the music of "Dramatics", you will find the soul of the story, and in the pain, Bigelow created humanity."—— The Guardian
"Detroit hurts because that's what was needed." - The Detroit News "
Katherine Bigelow isn't that original and doesn't reflect 'Detroit' differently. The drama needed for this extraordinary event." - The New
Yorker
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