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
  • Stanford 2022-04-20 09:02:11

    Personally, the most anticipated video scene is the natural and architectural environment of the English manor, which did not disappoint me at first. Secondly, I was surprised that the black and white tone and delicate composition of the film also exudes an elegant British temperament. Part of the film draws on Edmund Wilson's Freudian psychoanalytic point of view on female teachers, and the whole film forms a circular structure with the beginning and the end. The song is very brainwashed and full of mysterious charm #It haunts#

  • Shaun 2022-04-20 09:02:11

    This stamina is no less than HJ's own novel! I have read the novel for a long time, but the two episodes of being trapped in the corridor and the ghost at the end of the movie completely brought me back to the feeling when I was reading. I always feel that HJ is difficult to adapt. After all, the literary style is too strong. How can the long sentences be elegant and subtle through image processing. It is absolutely not enough to rely on long shots. The first paragraph of JC used the back and forth rotation of the camera movement in the dance style with the character, followed by the follow-up, up and down, especially when the point of view was changed. The color (clothes) of the heroine changes from innocent to evil and from white to black with the appearance of the children. It becomes a weapon to overcome both the inner fear and the resentful spirit that has been possessed by the children for a long time. The voice is extremely important in this almost realistic adaptation to provide a second proof because despite the fact that we see Wraith's other characters deny the heroine by everyone, even the audience, the only remaining support is the voice. If this is a psychoanalytical story then the proof of the sound (including the song humming by the daughter) evokes the symbolic pre-world

The Innocents quotes

  • Miss Giddens: The children... have they had a governess before?

    The Uncle: Yes, unfortunately. Not that there was anything wrong with Miss Jessel. She was an excellent governess and a most respectable woman. The children quite liked her especially little Flora. Oh, which reminds me: Be careful not to broach that subject to Flora unless of course, she broaches it to you first which I doubt will happen because she was so fond of Miss Jessel and it did come as an appalling shock.

    Miss Giddens: I'm not certain that I understand you, sir.

    The Uncle: She died.

  • Miss Giddens: And where, my pet, is Miss Jessel? Where is she, Flora?

    Mrs. Grose: Miss Giddens!

    Miss Giddens: Where is she? You know you can see her!

    Mrs. Grose: Miss!

    Miss Giddens: Look, Flora! Look! There! You know you can see her!

    Flora: I can't! I can't!

    Miss Giddens: Admit it! She's there! You know you can see her!

    Flora: I can't! I can't!

    Miss Giddens: But look, she's there!

    Flora: Help me, I'm frightened!

    Mrs. Grose: Please, miss.

    Miss Giddens: But you can see her! You must!

    Mrs. Grose: Hush! Hush, dear, hush! She isn't there. How could she be? She's dead and buried. Hush, Flora.

    Flora: I can't see anything! I've never seen anything! You're cruel! You're wicked! I hate you! I hate you! I hate you!

    Miss Giddens: Flora!

    Flora: Take me away from her! She's cruel! Take me away! Please take me away! Don't look at her! Don't look at her! She frightens me so!