Act One
Sequence one:
1. Daniel assists colleagues in the juvenile management office to bully the weak.
2. Father Tomash is celebrating Mass at the Young Guard, with Daniel as his assistant.
3. Bonus came to the juvenile management office and provoke Daniel.
4. Daniel was released after expiration and was assigned to Jumuchang, expressing his desire to be a priest.
[The first and second incidents used the fastest speed to outline the basic outlines of the characters. Pay attention to the three actions of Daniel's "backing", spitting, and "frowning" in incident 1, which reflected his benevolent heart under his unyielding appearance; In Incident 2, the position of the priest’s assistant and a melodious hymn strengthened and affirmed Daniel’s "goodness" quality, and together with Incident 4 laid the groundwork for him to replace the priest by impersonation.]
Sequence two:
5. On the night of the release, Daniel indulged in a carnival.
[Vaguely I can see Daniel's life state before entering the young man, portraying characters, and disguising the history of the characters in disguise. 】
Sequence Three:
6. On the bus to the sawmill, Daniel was despised by the police
7. Before Daniel went to the sawmill, he went to the church to pretend to be a priest.
[The scene on the bus was designed mainly to add rationality to Daniel's act of pretending to be a priest. Daniel's rebellious character made him desperate to prove that he was not a "scum" after being despised by the police, so after seeing the smog in the sawmill, he resolutely looked for the church bell and left. However, Daniel’s rebellious personality is not portrayed enough. Although he showed his depravity and debauchery in Event 5, he did not seem to enjoy it. It was not so much a return to rebellion as he was enjoying the "last" dinner". Moreover, in Sequence 1, the audience has left a "good" first impression of Daniel, and it is difficult to think that he is "bad". He is more like a blunt knife. Unless I misunderstood it, the creator did not give Daniel a rebellious character, but in that case, Incident 6 was meaningless except for the police. 】
Sequence Four:
8. Daniel borrowed the name of Father Tomas and lived in Father Gautab's house.
9. Father Gautab is drunk and Daniel completes the first sacrament of confession in his place.
10. At the plea of Father Gotaboo, Daniel agreed to temporarily replace him as a parish priest.
[Plot point I. As you can see from the following text, Father Gotaboo is just a flat character, and there are too many scenes here, which can make people mistakenly think that he is an important character. 】
Sequence Five:
11. Daniel was arranged by Lydie Asia Pacific to live in unfavorable accommodation and stayed up late to prepare for Mass.
12. Daniel successfully completed the first mass.
[Daniel did a fake act and started to think that he was a real priest. 】
On the second act
Sequence Six:
13. Daniel meets a mysterious woman and places a candle.
14. Daniel learned of a car accident in which six people were killed for the first time.
15. Daniel prayed for the six people and their families.
16. Daniel's Mass was well received.
[This sequence is mainly to lay the groundwork for the conflict in the second act, and the main story begins here. On the whole, it continues to follow the emotional tone of the fifth sequence, but the higher it goes, the worse it will fall. After Incident 16, there was a scene where Daniel listened to rock music and worked out. It showed that although he has started a priestly job, his vigorous and unruly nature still exists. If this scene is not added here, the audience will have no way of knowing whether Daniel has completed the transformation, and the two events of Sequence Seven will be redundant. 】
Sequence Seven:
17. When Daniel sent away the dying old man, his heart was deeply shaken.
18. Daniel popularized the vent methods learned by the young manager to the six families.
[Experienced death brought a powerful impact to Daniel. The moment the old man passed away, the sun became stronger, which is not only the manifestation of the gods, but also a symbol of Daniel's purification. This is a very cinematic technique. Event 18 was Daniel's change of heart. The creator chose to enter the scene from Eliza's point of view in order to confirm the sincerity of Daniel's change. Daniel used the method he learned in class to teach to the family members. He couldn't help but moved others and himself. He shed two lines of tears. The scene is humorous and touching. 】
Sequence Eight:
19. The mayor came to Daniel's residence and invited to attend the celebration of the new sawmill.
[What's puzzled is that before the mayor's arrival, the creator arranged for Daniel to dance, listen to rock music, and play with motorcycles in front of the warehouse, which was full of scorn. If it is just to bring out the "warehouse" and to ambush the fire later, there is no need to exaggerate it, because it makes the plot of Sequence Seven strange. Daniel won't become a saint overnight, but he won't seem to retreat to the juvenile house when he wakes up. 】
Sequence nine:
20. Daniel accepted Eliza's invitation to attend a riverside party and heard more inside stories about the car accident.
21. Daniel and Eliza went to find the wife (widow) of the "driver", but they were turned away.
【The main thread and the secondary thread are intertwined. The core story continued to advance, and was frustrated for the first time in inquiring into the truth; at the same time, it also made the relationship between Daniel and Eliza. The scene of the crowd gathering by the river was not well written, mainly because it was a little impatient. The lines were eager to shift from "the priest's physiological needs" to "that car accident" and to "that car accident". After that, several people turned their faces. It was too soon, just to let Daniel and Eliza be alone and open up as soon as possible. The functionality is too strong, leading to ignoring the logic of reason. 】
Sequence ten:
22. The mayor ordered Daniel not to dig deeper into the car accident.
23. Daniel blessed the new sawmill and satirized the mayor with his blessings.
24. In the new sawmill, Daniel saw Pincher, a colleague in the junior management office, and left in a hurry.
25. Daniel wanted to pack and escape, but eventually stayed.
[Daniel encountered the oppression of power and the danger of identity exposure, and the positive energy at the beginning of the second act gradually turned into negative energy. The characterization of Sequence Seven provided some rationality for his staying behind, but on this point I convinced myself for a long time. Because, if it weren’t for Daniel in Sequence Seven who felt the divine power and determined to help people out of suffering, I couldn’t find any reason why Daniel would not run away immediately, whether it was his love with Eliza or he wanted to investigate the car accident. Secret attempts, or fear of returning to the juvenile control office, have not done enough here. However, the influence of Sequence Seven has become very weak after Sequences Eight, Nine, and Ten. I can hardly even remember the scene where he sent the old man away. 】
Under the second act
Sequence eleven:
26. Daniel collected the remains of the six dead and prepared to donate them.
27. Daniel learned from Eliza that the six people were the culprit in the car accident.
28. Daniel and Eliza looked for the widow again, and the letter the widow received showed the viciousness of those families.
29. Daniel prayed coldly for the six dead and their families.
[Daniel and Eliza VS six families officially started here, but the script structure showed a strange appearance. In the last incident, the creator has thrown out the danger that Daniel may encounter. According to normal logic, it should appear that how Daniel avoids being dismantled and maintaining his image as a priest should be his current most urgent task. However, we can see that Sequence eleven has nothing to do with the previous scene, and instead begins to tell the story of the "saint" Daniel. He seems to have completely forgotten his dangerous situation, and instead continues the priest's work unhurriedly. Work and attention to the truth of the car accident. This kind of plot arrangement made me hesitate for a long time about whether this sequence should be in the middle point, but in the end I chose to believe that this was a mistake in the script. 】
【How to modify? If sequence eleven and twelve are reversed, the backbone of the story will be shifted. Story A and the story of the family and widow in the car accident will give way to the game between Daniel and Sher; if this sequence is deleted, the story will simply be said. Nowhere. The best solution seems to be the only clue to delete Daniel and Pincher. The creators wanted to join Pinscher for two reasons: First, from the technical point of view, the protagonist will turn from external events to face the true self at the midpoint. In this script, Daniel His true self is a bastard who has just left the juvenile office, a fake priest, and if there is no insider to expose it, Daniel will play it forever. So Pincher appeared, and he took on the role of demolition, forcing Daniel to return to reality; secondly, in terms of content, to reflect the transformation of Daniel’s character, not only this group of residents who were kept in the dark is needed. The affirmation also requires the affirmation of the person who knows his details, that is, the affirmation of the colleagues in the juvenile management office represented by Pinscher. If only the residents think that Daniel is a good priest, Daniel may just pretend to be out of identity; and if Pincher is deeply moved by Daniel’s sermon and forgets that they were both bad young men in the juvenile prison, then In this way, Daniel's sublimation is very convincing. Therefore, incident 33 appeared in this scene that seemed to write about Pinscher, but it was actually about Daniel. It's just that because there has been a problem with the structure, the latter problem still exists. 】
Sequence twelve:
30. Pincher finds Daniel and extorts money.
[Develop the third clue thoroughly. 】
Sequence thirteen:
31. Daniel raised donations in church and gave a sermon on "love".
32. At the party, Eliza sang "Love" and Daniel announced that the donation would be used for the funeral of the driver.
33. Pincher was probationed, and asked Daniel to cry, and the two went back to their old days.
[The biggest point of the third clue did not appear. The creator used a wine game to let Pinchel let Daniel go. It was very sloppy. It was a great opportunity to strike a stroke. Why was it wasted? Later, he informed Daniel to Father Tomas, and this behavior made no sense to his character. Pinschel is too instrumental, and it is just a pawn designed to advance the plot and end Daniel. However, it is reasonable for Daniel to drink and take drugs here, because Pincher’s appearance allows him to frankly admit that he is a fake priest and return to his previous life. 】
Sequence Fourteen:
34. The residents expressed dissatisfaction with Daniel's decision, and Daniel and Eliza took out their vicious letters to fight back.
35. Someone made a frontal threat to Daniel, and Daniel hit back hard.
36. Eliza stayed at Daniel's residence and the two had sex.
37. Daniel's warehouse was burned.
[Plot Ⅱ. The relationship between Daniel and Eliza is confirmed. While Eliza became a helper, those families also officially became enemies. However, just when we thought there would be a big battle in the third act, the big battle has not arrived. The accumulated problems exploded in the third act. 】
Act Three
Sequence fifteen:
38. The police investigated the fire and suspected Daniel's identity, and Eliza helped him get through the danger.
39. The mayor presides over the mediation meeting, and Daniel learns that the widow is also at fault.
40. Daniel went to the funeral of the driver, and some family members of the six people also went to attend, and Father Tomash appeared.
[The characters who had laid the groundwork in the early stage and thought that they would have enough influence on the development of the plot and the fate of the protagonist, all ended hastily. Six families are just one example. They easily settled with the widow. Even Lydie Yatai, who had always had a bad face, made a compromise. The police was another example. In the first act, the police's ferocious attitude towards Daniel makes it hard not to look forward to the two opponents in later scenes, but what is unexpected is that the handling of the opponent scenes is so casual. The police's suspicion of Daniel's identity could have become another turning point that put Daniel into trouble. However, before Daniel could respond, the creator used Eliza's understatement to dispel his concerns and left the scene. Not to mention whether the function of the police role overlaps with Pinscher-both put Daniel in an identity crisis-but the process of letting Daniel "slide away" is inexplicable. There are many plot points in the script that are visible to the naked eye and contain full theatrical potential, and the creators let go one by one. 】
Sequence Sixteen:
41. Father Tomas wants to take Daniel away, and Daniel slips away to preside over the farewell mass.
42. Father Tomas is reluctant and rushes to the church to force Daniel to submit.
43. Daniel took off his gown to show his tattoo at the farewell mass and left.
[Different from the anticlimax of the fate of the police and other characters, the image of Father Tomas presents another kind of weirdness-schizophrenia. In the first act, Father Tomas appeared as Daniel's spiritual mentor, and he gave encouragement and blessings when Daniel left the juvenile school, but he was a perfect character without any flaws. Surprisingly, when the film was about to end, Father Tomas took over Pincher's banner and became Daniel's resistance. This is a mistake in character design and a mistake in plot design. 】
Sequence Seventeen:
44. Father Gautab returned to do Mass, Lydia Yatai and others forgave the widow and let her enter the church.
45. Eliza went away from home.
46. Daniel returned to the juvenile management office, beat Bonus severely and fled to the unknown.
[Bonus appeared in the first act with great vigor, and eventually fell into the ranks of anticlimactic. Except for Daniel's escape, the ending is expected, but the road leading to the ending has so many crossroads that it is possible to reach this ending in the end is doubtful. 】
[Summary, in terms of character design, creators have arranged too many "troublemakers" in the early stage, and there are similar functions. As a result, they cannot play their best role in the limited space. In the end, they can only be randomly selected. deal with. It seems that Daniel has encountered a lot of trouble, but in fact no trouble is really trouble; Daniel is a character who is clearer on the whole, but he hasn't figured out his proper state in some places. I have been looking forward to seeing the qualitative changes that have taken place after he was stripped of his priest’s cloak and returned to the juvenile detention center, compared with him in the juvenile depot. Unfortunately, I didn’t see it; On the one hand, it serves Daniel's emotional clues, on the other hand, it exists as a conscience witness. However, due to the illogical changes of the family members, the strength of her final departure (determination) was not as good as expected. The creators have pinpointed the core story, but have not been able to pinpoint which characters are needed and what they need to do. This is the biggest problem with this movie. Fortunately, the movie basically focuses on Daniel, so that the story is not too scattered, and the theme is clearly expressed. 】
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