The first edition of "Mysterious Disappearance" was rated by critics as the best horror film in the past 20 years, but some people think that the film is not scary at all. When explaining the main thread of Dutch vacations, the French chemistry teacher (that is, the murderer) used anesthetics in his country house to anaesthetize himself for experiments, how to practice the hijacking process, and other details. This is tantamount to giving up creating suspense. Let the audience know the murderer in advance and know the methods of hijacking. As everyone knows, this is exactly the way to create suspense. According to Hitchcock’s theory, two people were talking in the room. Suddenly the bomb under the table exploded. This whole process can only shock the audience. The audience may last for 15 seconds. The purple sheet of the clock. If the same scene is taken, another person enters the room and hides the bomb under the table. The bomb is timed for 10 minutes. Then the two people walk into the room but do not find the bomb. They still sit down and talk, and insert a hanger from time to time. With the clock on the wall, as the hands of the clock keep moving, the audience will be trapped in anxiety and anxiety caused by this suspense for the next 10 minutes. This is the creation of suspense, by revealing to the audience the plot that the character is about to fall into crisis, but the character in the play does not know it, so that a kind of "comlicity" is formed between the director and the audience. The audience will naturally be anxious about the fate of the characters in the play, or fall into speculation about whether the crisis is expected to occur, who is the creator of the crisis, and so on. "Master of Suspense" Hitchcock has always liked to tell the audience the answer in advance. For example, it was revealed in the middle part of "Victorius" that Judy and Madeleine are the same person. This also caused controversy because In the original book, this truth was finally revealed. In addition, "Deathing Furious" and "Northwest by Northwest" also revealed the truth in advance, making the audience focus on which innocent protagonist's fate is determined.
The best way to create suspense is to use a limited time and a closed space. In recent years, the screenwriters of some popular American dramas have used this method to the extreme. "Prison Break" is a typical example. Michael successfully escaped from the heavily guarded prison within a limited time time and time again, which is to create suspense in the limited time and enclosed space. In the first season, the audience knew that Lincoln was sentenced to death for a long time, and Michael had to rescue Lincoln before the execution. The villain in the play tried every means to get the death penalty to be executed in advance, and the audience followed the role in the fight against each other. Suffering from the circumstances. In the second season, although the enclosed space of the prison was lost, every time on the way to escape, the police had to leave before the chasing police arrived. The race against time was dangerous. In the third season, the screenwriter repeats the same trick, throwing Michael into the more dangerous Saona prison, and must rescue Weiss within a limited time. In the fourth season, he changed his tricks from passive to active attack, from escaping from prison to infiltrating the secret room within a limited time to obtain Sila. Of course, setting up suspense also requires wisdom and skill. The key is to let the audience know the situation or crisis of the character. Just like in "Mysterious Disappearance" we saw the murderer’s rehearsal for the hijacking, and we began to worry about the heroine’s fate. At least in the first half of the film, we would guess whether the heroine would be hijacked.
After the heroine in "Mysterious Disappearance" disappears, the director still has many choices to create suspense in the second half of the film to attract the audience, such as whether the murderer will be found and what is the murderer's motive. But the director George Sluize let the murderer meet the actor, and it was the murderer who took the initiative to contact the actor to meet. Then the murderer talked about how to hijack the heroine at the gas station, and the motivation for doing so, and almost all the audience want to know the answer. Just when we thought that the director gave up the suspense creation and made the truth known to the world, the director introduced the final suspense. He draws the audience’s attention to what happened to the heroine after being kidnapped. This is also the reason for the murderer to lure the hero in the film. The murderer promises that as long as the hero drinks the drug, he will experience everything that the heroine encounters. . Regarding the formation of this last suspense, the director made a supplement at the beginning of the film, which is the dream of being imprisoned in a golden egg that the heroine and the heroine talk about. At this point, the director has woven a perfect trap, just waiting for the audience to jump into it. So why are the audience attracted by this suspense? Because too many movies are produced by reversing the suspense, the movie-watching experience gives the audience hope. Once we focus on a certain film, even if the story is boring, old-fashioned, and uninspiring, we are still attracted by the plot, because if we want to know the result, unless the film ends, we have no choice.
Film narration is actually a complicated game between the director and the audience. The audience's acceptance of the plot rarely takes a passive attitude, and is usually always in an active position. Audiences often question the narrative of the film, why would the male protagonist do this? What will the heroine do next? The more complex the plot of the film, the quicker the audience’s response, analysis, screening, and reasoning about clues, evidence, motives, etc. appearing in the film, and always vigilant, so as not to mislead the plot set deliberately in the film. Generally, narrative movies will set up numerous dilemmas or suspense, and then produce unexpected reversals, winning with tortuous plots. In the first version of the film, the director George Sluizen did not pursue narrative skills. Instead, he played down the volatility of the film's plot and reduced the suspenseful setting, and directed the audience's attention from guessing the plot to the leading actor. The feeling of feeling is to feel the feeling of the actor's loss of his girlfriend, the kind of helplessness that is almost frantic, and the shock when he hears that the murderer is just a criminal reason to prove whether he can do evil things. For such a film that focuses on psychological experience, the director did not change the overall narrative framework when shooting the Hollywood version, but only changed the end of the film, allowing the actor's new girlfriend to successfully rescue him from the murderer. This kind of good retribution, evil retribution, the typical happy ending, although it meets the expectations of the audience, but the overall tone of the film has not changed, so it can only be reduced to a third-rate thriller and become a Hollywood industrial product. One.
The revised ending cannot make the Hollywood version of "Mysterious Disappearance" an excellent thriller, but it was the ending of the first edition that made an outstanding psychological horror film. The film does not have a wide-open plot and a deliberately suppressed narrative approach to give the audience a depressive viewing experience. The final suspense constructed at the end of the film hints at the turning point and induces the audience to blow the soap bubbles of hope. In the end, it cruelly shattered the audience's expectations, just like Hitchcock killed the boy in "Sabotage", or the saboteur successfully blown up a warship in "Cape Catch the Murder". This is very rare on the screen, but it has achieved an amazing dramatic effect in the audience. The suppressed emotions of the audience instantly turned into a huge shock, leaving an indelible impression in their hearts. The deep sense of loss made the audience empathize with the fateful destiny of the hero of the film, and Kong left a sigh.
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