The 4th #法罗岛电影节# The 9th screening day of the main competition unit brings you the closing film "Northwest by Northwest", and here is the evaluation of the publication group!
East coupling:
It's much worse than I thought...especially in the characterization of the male lead. At the beginning, the male lead was flustered and overwhelmed. The contrast of the calmness behind everything was too great, and the emotional excess in the middle was too blunt. The most favorite places in the whole series are plane killings and train tunneling. The overall atmosphere of plane killings is commendable. Needless to say, train tunneling is a full metaphor.
Mimi:
In fact, I really hate this kind of script for the purpose of writing great scripts, entertainment popcorn films, there is nothing to say.
Gray cat:
The climax in the true sense is repeated, and the genre elements are all available. The ingenious lens control ability has strengthened the wonderful dramatic tension in the drama in multiple paragraphs. The technical reputation is inevitable, and perhaps because of this, Personally, I feel that compared with the overall perfect texture without pretending to be advanced, the drama suspense at the ending is clean and neat, but it is too modest.
Want to be you:
The male protagonist was very reckless when he was kidnapped, and he was stupidly stupid at the United Nations (not to mention that in the United Nations, in the movie, the position of the characters in the movie is almost no one sees it), but the protagonist who continues to set this way is completely reasonable. Yes, but later he was smart again and calmed down, just like Xi Fat's usual nervousness.
Sweet tea ♂ me:
such a nice face, too real.
City of Philharmonic:
It started with a thriller, then a suspense, then a romance, and finally. . . Action movie
The image of the plane dive is still fresh
Shang Xiu's movies:
Gary Grant is a little too tan, a bit unbearable to look straight. Unfortunately, when the film was decrypted by itself in an hour, everything was ready to come out, and the suspense basically disappeared.
Dan Stevens:
Half love, half suspense. Tough guy beauties are standard. The scene of the airplane dive and the chase on the statue of President Rushmore is really classic.
Aurora vovo:
It could have gotten bad
After watching "Northwest by Northwest" and before writing this film review, I asked myself this question: How do we keep the suspenseful film suspenseful, and then keep the audience interested in the plot?
Suspense films, at its root, the source of the sense of suspense felt by the audience is generally our subjective desire for the truth, which is the desire for feedback (discovering the truth) in our hearts after showing a story in front of us. Therefore, the answer to this question is often: increase the narrative dimension, cover the truth with layer after layer of content, and then unfold layer by layer in the process of telling the story until the truth is revealed. And this film festival has many court movies. In a sense, the purpose of court debate is to find out the truth and judge the result. For this kind of court play, we have another way to expand: throw a lot of information to the audience through large dialogues and statements, but do not give the audience enough time to process the information, and let the saturated information completely "confuse" the audience. The audience then indirectly concealed the "truth" sought by the audience in this way, thereby maintaining the sense of suspense. This is the answer to that question in general.
But Hitchcock didn't seem to think so. He chose another path that few people walked---to directly deny the existence of the truth, so that what the characters are entangled with becomes non-existent. This method of processing is extremely clever. The general suspense film that gets closer to the truth will become boring. At this time, if you want to maintain the tension of the plot, you need to increase the reversal, but the inevitable result of increasing the reversal is to make the movie change. It looks like a dog-blooded eight-point melodrama (typical examples are the recent "Tuner" and "The Mirage") and Hitchcock's approach can make the plot of the movie remain extremely high at all times. Since the truth does not exist, what we are concerned about is how the protagonist tries to approach this so-called "truth" and fails again and again, and the audience’s appetite will always be hanged because of this, and the sense of suspense can start from the beginning. Keep it forever.
And Hitchcock is actually not the first time to use such a method to maintain suspense. He adopted this method in his work "Victorius" shortly before 59 years (in fact, 58 years). And the use of this method in other works of art can even be traced back to Kafka’s "Castle" (1926, in fact, maybe earlier works also have this method, but unfortunately, I read too few books, and I haven’t read it yet. (Over) But unlike the extreme absurd artistic effect that Kafka hopes to achieve, what Hitchcock shows is actually an extreme sense of suspense. He doesn't want the truth of his story to be revealed. He simply hides the truth and allows the audience to watch the protagonist's continuous search for the truth. And this kind of processing method that emphasizes the process and neglects the result also has extremely great practical significance in the post-truth era.
However, it needs to be pointed out that Hitchcock’s wonderful method of maintaining a sense of suspense that I have pointed out here is precisely the fault of this film: the premise for Hitchcock to hide the truth in order to achieve such an artistic effect is the audience. I don't know that the truth does not exist. The audience only realizes that the truth may not exist through the progress of the plot. To a certain extent, the audience will be convinced of the truth at first, and will gradually doubt it until later. And Xi Pang's treatment: In one third of the movie, he pretended to be a CIA official to tell the audience that Mr. Keplin did not exist. At this moment, the suspense that bothered to maintain was gone, and the whole movie seemed dull and boring.
This is why the title of this film review is: "It could have become bad." Even though the movie had broken in one third of it, Hitchcock relied on his extremely powerful control ability to make Ben could become The disaster movie becomes a movie that can still be seen. (Of course, in that era, this can even be said to be a masterpiece)
At this time, Hitchcock's other narrative technique-McGoffin stabilized the position for the entire movie so that it will not collapse to the end. McGoffin refers to some plots that seem to be very important at the beginning and are the focus of the characters in the play. As the plot of the story develops, gradually the characters' loyalty or love and hatred become the focus of the audience. McGoffin gradually Things that are not that important, and sometimes even completely unimportant. In this movie, the non-existent Mr. Caplin is McGoffin. Mr. Keplin was supposed to be the focus of the role in the play, but after the fact that Mr. Keplin did not exist was known to the audience, the film had many other branch plots (for example, the female role played by Eva Mary Senter). The narrative clues of the special agent's role and the audience's perspective (the limitation becomes omniscience) have shifted, and the whole film lacks suspense but has the ultimate excitement. Especially in that part of the airplane scene, despite the suspicion of deceiving the audience, it did make up for the problem of lost suspense. And this is where the temperament of Master Hitchcock is reflected: he can use his unparalleled narrative skills to redeem a possible artistic disaster, and use superb audio-visual means and technology to make the audience dizzy and clap his hands.
#FIFF4#For details on the scores of the main competition magazine, please refer to this link
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