The film might not have been so controversial without it, but thanks to it, the film itself is an intriguing experiment in Ang Lee's "modern" art. If Ang Lee integrated traditional 3D technology in "Youth Pie", then "Midfield" is his pathfinder to the master of the film revolution. This kind of revolution is not only technical, but the exploration and innovation of film language based on this technology.
It is undeniable that the so-called 3D4k120 frame ultra-high-definition technology used in "Midfield" is far from perfect. After all, each photography technology has its own strengths and limitations, such as 360-degree panorama, and large-scale action scenes with depth of field are the top cards of traditional 3D photography technology, but similar pictures are tragic at high frequencies. If nothing else, it is the most thrilling war scene, as long as the lens is all panoramic, the DVR high-definition recording effect without rendering has no beauty at all, but it magnifies the falseness of the scenery infinitely, making people play in minutes. And what focus switching, 360-degree rotary shooting, these highly infectious techniques in art are so out of place in the ultra-documentary style. What's more deadly is that under the contrast of high-definition pictures, the defects in sound quality are also exposed, and the asymmetry in fidelity of sound and picture always gives the illusion of being out of sync. In less than ten minutes of the opening, the discomfort of perception almost reached its peak. If it wasn't for Ang Lee's reputation, I would have left the seat in anger and ripped the screen with my hands.
But Ang Lee is a director who can tell stories anyway, even if he gets off the screen, the overall scheduling of the movie is as solid and steady as ever. From the first shot, the perspective of the film has never left the male protagonist. Billy has become the absolute center, and what he sees and thinks becomes the main line that drives the film. The preparations for the halftime show, the funeral of a comrade-in-arms, and the experience of returning home all seem to have been brought in hastily. Instead, the memories of the battlefield triggered inadvertently appear to be more real and full of details. With curiosity about the male protagonist's experience, the audience gradually entered the world of movies from the perspective and thinking of the male protagonist through the camera.
The scene of Billy protecting his comrades alone and fighting against the gangsters was recorded and widely known. The death of his teammates made him a high-profile hero, but the biggest compliment was being invited to lead the team to walk a midfield in the live broadcast. show, as well as selling the rights to the film adaptation of his story to the sponsor. In such an ironic situation, Billy himself was lost in it. Returning from the battlefield, death is imminent, the hometown of Zeng Jiang has become unfamiliar, the surrounding bystanders, fiery lovers, and even close relatives cannot understand themselves at all; money snobbery, intrigue, cold and dark cudgel, seems to be more impossible than a hail of bullets From; peace and prosperity, singing and dancing, fireworks and wars, what is the destination, what is peace, and what is truth, this is Billy's hesitation, the doubts of the soldiers, and the thinking that Ang Lee leads the audience.
The most amazing thing is that the hyper-real images of the movie make the audience constantly play into the play, which just echoes the blur of Billy's sense of reality between reality and memory, creating a synaesthetic resonance of the audience for Billy. Whether it's the masses in the movie to Billy, or us to the movie itself, it's a fire on the other side after all. As Billy made the choice to return to reality, the movie came to an abrupt end, and as an audience, he also stepped out of Billy's world, and Ang Lee also used Billy to lead the audience to explore what reality is.
I find it hard to believe that this is Ang Lee's careful layout from technological innovation, visual sacrifice, to story presentation and theme deification. After all, this method of using the visual perception of the screen to break the fourth wall, to achieve the unity and opposition of the protagonist and the audience, and to discuss the contradiction between reality and bystander, is like a god descending from the earth, unbelievable. I'd rather believe that this is just Ang Lee's serendipity, as if we all felt that Crouching Tiger, Hidden Dragon's creation of Hollywood's Chinese style was an accident, that Brokeback Mountain brought gay themes into the mainstream is a compliment, and "Youth Pie" Li An brought the second statuette to pick up the leak. After all, Ang Lee himself also inserted a branch line in the film to satirize those filmmakers who only know how to make money and not understand the hearts of real people.
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