The gap between the two articles is so big that it affects the mood of watching the movie.
The memoir talks about the abuse of railway prisoners of war.
The modern chapter shows how these veterans of prisoners of war who have lost their laughter and luxury heal themselves. Suddenly, their style is extremely restrained. Their emotional transitions go from big waves to the aftermath without warning. The reunion orgasm that should have been high-pitched turns into an unreasonable and reasonable battle. .
The plot of the Memories is simple, just to make the audience feel the pain of the prisoners of war. The movie also really played the revenge mood of "you will hate this person forever and want revenge".
It's really miserable! The U.S. soldiers who were taken captive by the Japanese army and demanded to serve in the railroads were subjected to a series of inhumane indirect executions. The young protagonist played by Jeremy Irvine was arrested for stealing the radio, but it was the map he drew for railway interests that actually made him tortured. The Japanese army associated the two things together, regarded him as a spy, and arrested him. The tragedy began.
Imagine: you were wronged for what you didn’t do (well, it’s not that you didn’t do it, it’s just a misunderstanding), crazy torture with sticks and water torture, so that you can’t beg for death; People do not understand English, and the translator lacks knowledge when you are talking nonsense. This is the dead end of torture, torture and torture. After this round for more than ten days, even if the physical trauma can be cured, the hatred will penetrate into the heart with the pain, and it will become a poison that can no longer be cleaned. You will always hate the person who started it, no matter how arrogant tolerance or post-war principles, it is impossible to convince your heart.
How to resolve this hatred? War could have been explained in the most direct and bloody way, that is, blood for blood. However, it was counterproductive. Not many Japanese soldiers were dealt with dead after World War II. The protagonist and these American prisoners of war could not see the enemy's blood, and could only return to their country, with a scrawny body and a soul who remembered this hatred.
The modern chapter continues decades after the memorial chapter and talks about the post-war lives of these veterans. I feel bad. The foreword is too dull and the closing is too restrained; from the foreword to the closing, the painless background is laid out and too long, accounting for almost 30% of the film's time.
The story clearly narrates how these violators and victims of violence concealed these pains over the decades, and how these pains affected the rest of their lives. When the memory opened again, the pressure that seemed to revisit the old place forced these people to face the rough past in various extreme ways.
However, the development of the plot is indifferent enough. Compared with the suffocating face of the memoir chapter, the modern chapter is like a psychological counseling club playing chess after dinner. I am puzzled by the huge gap in emotional tension.
The cast of the modern chapter is far better than the memoir chapter. The lineup includes: Colin Firth, who plays the old protagonist, Stellan Skarsgard, Japanese soldier Hiroyuki Sanada, and Ni, who I don’t like but also has an Oscar affirmation. Nicole Kidman (Nicole Kidman). These four are all trophy-worthy talents, but 90% of the time in the whole show, our audience can only watch them put on a face...a shit face.
It is indecent to say this, but I really can't find a more appropriate term to describe these people with frowning brows, floating eyes, and tightening their chins. It's nothing but stool.
One of the most dramatic episodes, when the veterans read the newspapers and knew that the Japanese soldiers who violently attacked them were not executed as war criminals. What was their reaction?
Look at each other and put on a shit face.
The second most dramatic segment, when the veterans quickly learned that their colleagues couldn't stand the trauma and committed suicide on the railway (in fact, I don't understand the motive here). What was their response?
Staring at his wife, put on a shit face.
The third most dramatic segment is when the veteran goes to Thailand and follows the old Japanese soldier and listens to him telling the history of railway paving, the complex emotions that separate objectivity and subjectivity, the passage of time and the feelings of the parties, what will happen break out?
Look sideways, put on a shit face.
This is the main reason I saw that I couldn't stand it later.
Is my understanding too bad? Could it be that these shit faces are like Collin Firth's wonderful performance in "The King's Speech" (The King's Speech), with a huge emotional ups and downs below the iceberg, but I can only understand the exaggerated outline of the cheesy performance ? Is this seemingly a show that only has the lip service and no other means of expression aided by it, but is it actually quite impressive? I don't understand why these veterans want to act like this...
Nicole Kidman, who barely counts as a pooping face, is directly beaten from the foil safflower into a flying dragon in the cloud in the second half of the plot.
It is not so much the difference in the importance of the characters, but the messy editing of the film has actually caused a serious imbalance in the importance of many characters.
This editing also affected the rhythm of the whole film to be slower. It should have been the most critical and most appetizing protagonist's mystery of abuse. After the memory is broken up, the story will be interrupted at a painless time, and it will be the second half. I really don't know what else I can wait to see, I'm all looking at the background (to be fair, the background shot is really good)...
This real life is very lethal, and the accusation against the combatants through the experience of blood and tears is Lingyou Horn. The film's standpoint is obviously not to offend anyone in Japan and the United States. When telling the story, you stop your hands and feet. After the water chestnuts are smoothed, all that is left is to have an orgasm without an orgasm and be rational and irrational.
When I saw the end, I could only put on a frown, my eyes floating, my chin tightened and my fecal face, I would walk slowly after watching the movie with my cheeks.
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