Quiet but full of dynamic shots, real and emotional sound effects, is "one of the most individual directors in the past ten years" Turk Nuri Big Ceylon With his usual practice, it is undeniable that his film "Three Monkeys", which won the 61st Cannes Best Director Award, is also full of this Ceylon style.
As a director with a background in photography, unlike Lao Mouzi's "light and shadow decoration" artisans, Ceylon's pictures have a deep sense of immersion and immersion, both for the actors and the audience. He is good at composition, good at color, and good at using excellent lens language to portray the relationship and mental journey of characters, whether it is long shots or close-up close-ups. Usually, his long-term view is quiet and far away, which is used to highlight the specific atmosphere of the film story. The close-up close-up is bold and delicate, as if analyzing the innermost part of the character, so that every character's eyes, expressions, behaviors, even the most subtle Part of it is now in front of the audience, so that the performance has also formed a Ceylon style-introverted and flat but focused and magnified, and all of these are based on Ceylon's powerful image control.
When I first watched his film "A Season Suitable for Breaking Up", I focused on the characteristics of the pictures and sound effects in it. When writing that related film review, he also commented this way-"The director seems to want to use the combination of sound effects and long shots to create An atmosphere of emptiness and dryness in the heart.” That is, using sound and painting to microscopic the mood of the characters, in this sense, "Three Monkeys" seems to be a re-expression of Ceylon’s self-style, which seems to be repeated. Suspect, and the picture in the film is still depressed and melancholy. The sky is mostly overcast. Even if it is sunny, it is full of gloomy atmosphere. The characters are worried and frowning, as if they are suffering from "Ceylon Imaging Syndrome" again. .
The shots full of subtext, the indifferent and silent pictures, the real and diverse sound effects, and the meticulous details convey a kind of contemplation in the beautiful scene changes. Indeed, "Three Monkeys" bears a clear Ceylon label. Especially those from the natural wind, ocean tides, and the friction of cars crossing the ground, inevitably remind people of the "sound effects special" in the opening chapter of "A Season Suitable for Breaking Up". As far as the viewing effect is concerned, "Three Monkeys" seems to be the same as Ceylon’s previous works. It is easy to divide the film group into two levels. Those who like it will appreciate more and those who are unhappy only see the dullness. Many people criticize the plot setting of the film. It is relatively empty. In fact, in this Ceylon's fifth work, the story is much richer than in the past. If you think about it carefully, you will find that there are still many changes in the new film.
First of all, the lens expression is more refined and expressive, and the use of the picture also pushes the expression to a new level. Some unique focusing and photography angles also make the director's intentions more clear and self-examination; second, it is different from the previous works. The prolonged narrative rhythm. In the new work, the prolonged and loose tone has been adjusted. Even if there are some deliberate delays, it is to increase the emotional tension of the characters and make the tight heartstrings tighten. stretch. In addition, the narrative structure is more effective than before, so that the pain and suffering of the people are more thorough and intense. For example, the actor Iyo returned to his home after being questioned at the police station. On the bed, a imaginary immature arm that once belonged to a relative encircled him, who was helpless and aggrieved at this time, so his heart felt like a hole was punched in his heart. Sadness was born in his heart, and it seemed to come from a long time ago. The scars that have existed in the age.
Obviously, the film also uses the transformation of the spatial perspective to reproduce the story and the characters, and uses the screen sound effects to promote the plot and shape the characters, but this time the purpose is more direct and clear, such as the performance of his son, Esmail, who has suddenly returned home. When there are people in the mother Heather’s room, he uses the noise of vehicles outside the window, the chirping birdsong, and the sound of a knife on the cutting board constantly searching for a balance point under the subtle trembling of the knife handle when the wind blows, thereby bringing the son A vivid image of the complex fluctuations in the heart at this time. For another example, after being cheated by her husband Iyo, her lover Sevey was killed, and Heather became the biggest suspect, she tried to commit suicide by jumping off the building. Iyo discovered his wife's actions, so his heart was poured over as a relative. The hatred to stop and the man is tossing and turning, and trying to survive this moment. At this time, the film uses the roar of a rumbling train on the train road next to the house and Iyo’s rapid gasps and sweat bead to show. The suffering and struggle in his heart. In addition, when Heather and Sevey met at the beach for the last time, the film also used the zoom of the distant view to form a third-party perspective, which made the subsequent murders more logical.
It is reported that the title of the film comes from the "Three Monkeys" in Japanese religion. The three monkeys in the painting, one covering their ears, one covering their mouths, and one covering their eyes, mean "don't look, don't listen, don't speak". Ceylon believes, "In life, people are often used to turning a blind eye and not hearing. And this is how we protect ourselves from being too painful." The family of three in the film has many confusions and deficiencies, which occasionally turn out. The kind of prematurely terrifying child who died early is an old wound and deficiency in this family, but they all endure silent; Iyo goes to jail for others, seeming to make up for material lack, but he can’t make up for emotionally. During the nine months of his sentence, there was a vague tension between his wife and children, but it did not break out. After his son failed the exam, was injured in a fight, and his wife went to the boss to get money and fell, this blasting point is still only reflected. After a few angry and insulting slaps, the murder became inevitable afterwards. However, the setting of the character of the wife and mother Heather in the film is lacking, and the change in his heart appears more sudden, which damages the presentation of the plot.
As if pursuing a kind of meaning, or suggesting a kind of self-evident reincarnation, the beginning and the end of the film have formed a deliberate intertextual correspondence. The first thunder is followed by a torrent of rain, and the end is also the torrent of rain after the thunder. Just listen to the thunder. Rain’s people changed from the shivering boss Sevi to the obscure Iyo. Iyo has changed from a driver who committed crimes for the boss for money to a buyer and a perpetrator. He bought the poor young teahouse youth to commit the crime. …Is the status change of Iyo a kind of "enhancement" of survivability, or the status quo of Turkish society's moral and legal system? The director's original intention was "I don't want to preach in the movie", and his purpose is related to people's inner world. In this regard, he has touched.
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