Innocent man notes

Kenyon 2022-01-12 08:01:29

"Screws are tightening" is famous for the structure of stacked bed frames. It is difficult to shoot like this when adapted into a movie (the Grand Budapest Hotel did it). At the beginning of the film, the female teacher's monologue also created truth and falsehood in a concise way. Difficult atmosphere.

Except for the hint at the beginning that the film is from the subjective perspective of the female teacher, the heroine had a face when he saw the ghost of a male servant for the first time, but the face of the female ghost was vague when he saw the ghost for the first time, because the heroine had never intended Seeing the picture of the male servant in the video also implies that this is the female teacher’s imagination. In the second half of the film, the female protagonist's dress also changed to the same black abstinence dress of the former teacher, and the images of the two gradually overlapped.

Deep focus lens.

With the development of the film, the contrast of the picture increases, and the camera is directly blacked out when reading the comments.

The ambiguous relationship between the female teacher and the boy. The way of expression is both cryptic and explicit, and the two kisses are a magical touch. Anyway, I didn't see the loan or the substitute, and I obviously can't shoot like this now.

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Extended Reading
  • Jerrell 2022-04-20 09:02:11

    What does this mean? ? ? ? It was such a breakthrough in the 1960s. The two kisses are very meaningful.

  • Bell 2022-04-19 09:02:37

    This film is either 100% understandable or completely incomprehensible, but it is worth watching just to enjoy the audiovisual. Both the incestuous consciousness and the possessive theory seem to be explained, and the latter is more inclined. Because the node of the two kisses does not match the former explanation, and the two kisses are the male initiative and the female initiative. Also, this is not psychological terror, but direct terror.

The Innocents quotes

  • Mrs. Grose: [referring to Peter Quint and Miss Jessel's abusive relationship] A person ought to keep quiet about it.

    Miss Giddens: You must tell me.

    Mrs. Grose: Oh, miss, there's things I've seen I... I'm ashamed to say.

    Miss Giddens: Go on.

    Mrs. Grose: Rooms... used by daylight... as though they were dark woods.

    Miss Giddens: They didn't care that you saw them? And the children?

    Mrs. Grose: I can't say, miss. I... I don't know what the children saw. But they used to follow Quint and Miss Jessel, trailing along behind, hand in hand, whispering. There was too much whispering in this house, miss.

    Miss Giddens: Oh, yes, I can imagine. Yes, I can imagine what sort of things they whispered about. Quint, Miles. I can hear them together.

    Mrs. Grose: But there was nothing wrong in Master Miles wanting to be with Quint. Quint taught him to ride and took him walking. The poor lad needed someone to...

    Miss Giddens: To corrupt him?

    Mrs. Grose: But Master Miles is a good boy, miss. There's nothing wicked in him.

    Miss Giddens: Unless he's deceiving us. Unless they're both deceiving us. The innocents.

    Mrs. Grose: Innocents they are, miss. It's not fair. You have no right to accuse them of...

    Miss Giddens: Oh, forgive me, Mrs. Grose. I'm not accusing. I'm just trying to put it together, to understand. Tell me, were the children happy?

    Mrs. Grose: Oh, they seemed to be. The same as now. But sometimes I used to wonder if they really cared for them, those two... or if they weren't just using them.

    Miss Giddens: Using them?

    Mrs. Grose: Yes, of course they were... and still are.

  • The Uncle: Miss Giddens, may I ask you a somewhat personal question? Do you have an imagination?

    Miss Giddens: Oh!

    [chuckles]

    Miss Giddens: Oh, yes, I can answer that. Yes.

    The Uncle: Good. Truth is very seldom understood by any but imaginative persons... and I want to be quite truthful.