After being abandoned by the crowd, Glass (Xiao Li) crawled to his son's side, exhausted his strength and lay down with his head on his son's body in despair, looking into the sky. The camera was very close to Xiao Li, and his exhalation condensed into a white mist on the lens, and his face gradually blurred in the white mist. After that, the shot was cut and turned into the subjective shot that Glass saw in his eyes when he looked at the sky-the vast cedar, the gray sky, and the cold snow mist descended very slowly from the sky, and gradually fell towards the ground. The four fields were empty and there was no sound. After that, the camera switched to Fitzgerald (Tom Hardy) who was smoking, white smoke coming out of the pipe in his hand.
In this overall clip, except for the artificial voice of Glass after crawling and discovering his son, all natural sounds, or silence, appear, and the whole is very solemn. The first cut of this clip perfectly externalizes Glass's inner emotions, projecting the emotions into the cruel natural environment he is in, and turning them into visible and perceptible visual language. In the second cut, while completing the narrative advancement, it naturally transitioned from the victim of the same incident to the perpetrator, forming a sharp visual contrast, increasing the tension of the narrative, and completing the emotional contrast to Glass from the opposite side.
If Xiao Li finally gets his golden man, I think at least 50% of the credit goes to Gonzalez. The script’s portrayal of Glass and the use of various film languages have maximized the strengths of Xiao Li’s performance, that is, the dynamics of his body language and the stage of performance, while Xiao Li’s relatively short-board and delicate emotional performance almost All adopted the environmental projection method in the above fragments, not only did not expose the shortcomings, but increased the visual artistry, which greatly improved the effect of the entire performance.
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