It’s almost impossible to find the brows and eyebrows in the films "Drunken Angel" and "Wild Wolf Dog" in his 20s in the movie image of Mifune Toshiro after Rashomon. It's a pity that such a shaved face outline Uncle prematurely, and death prematurely. In "Death Sword", the image of Nakadai Tatsuya's samurai is his image that penetrates my heart the most. Although "Cutting the Belly" is more shocking, the story is more important than the characters, and the characters are blurred. In short, Japanese samurai movies are too bad for the image of handsome guys, and the detective Tatsuya Nakadai in "Heaven and Hell" is too good.
At first glance, he didn't seem to be able to come up with too many ways to monitor the phone, hiding behind the curtains of the owner of Mifune's house. The sigh of "the longer you can trace him" appeared more than once. His image was established layer by layer through several speeches:
1. When the boss of Michon was hesitating between paying the ransom or not, he solemnly told him that he did not have to pay the ransom. Although it was to save the child, he could not sacrifice the boss. I feel that this policeman is "nailing or riveting." He has a clear thinking, calmness, and does not engage in moral kidnapping. He is an upright and just policeman.
2. In the first police meeting after the child was rescued in the film, a large room was crowded with police officers. Two people in each group reported different investigation results and analyzed them. Finally, the inspector made a summary statement. As the audience is full of confidence, with so much investment of police resources, it is only a matter of time before the criminals are caught!
3. After confirming the identity of the kidnapper, the detective said that he could not be arrested now. If he was arrested, he would only be sentenced to 15 years imprisonment. Can't help but be moved by the police's enthusiasm and determination to protect the justice of the three boat bosses in the film. This is a police force that is not bureaucratic at all, and the inspector is simply shining.
In contrast, the Boss of Three Ships, although incarnate as justice in the film, is not so prominent.
After watching several modern movies by Akira Kurosawa, this one is the best. Needless to say, the language of the lens is extremely classic. The group portrait is as exquisite as the group portrait of the Dutch painter Hals. It does not ignore any role, and the rhythm of the whole film is just right. In the first half of watching the show, it is inevitable to suspect that the kidnapping case is related to the director of the shoe company. In fact, the appearance of the director only puts the boss of the three ships in a dilemma, forcing him to choose among the options. As a result, he now has morality and justice, which is the justice the police want to protect in the film, and the hope that the director gives to the public.
The script of this film is adapted from a detective novel by Ed McBain. His protagonists all have a particularly three-dimensional silhouette of Europeans and Americans. It is no wonder that his works are not "Japanese" but "Western".
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