From the lens form. There are many motion shots in the picture.
When Jun Ha and Joo Hee visited the haunted house, the director used a hand-held stabilizer on the front and back to shoot, and the shaking of the camera brought instability to the picture and created a sense of tension.
The use of side shots: Zi Xi went to the art museum with Shang Min and Xiu Jing. The director used a long shot to follow Shang Min and Xiu Jing together. Zi Xi walked aside alone, showing her embarrassment. In order to avoid the dullness of similar scenes in long shots, the director interspersed Zixi and the two with porters carrying screens, sculptures, and blocks of carts, and the occasional blocking and the occasional staring of Zixi and monks. Out of the changing environment and jumping ambiguous feelings.
When Jun Ha, Joo Hee, Tae Soo, and Na Hee met for the first time at the dance, the director used the use of the circular track shot, in the continuous picture, panning the camera back and forth instead of fighting back and forth, and surrounded the four people. It brings the relationship between the protagonists closer, and at the same time makes the picture more active, paving the way for the joyful reunion of Jun Ha and Joo Hee later.
Joo-hee writes letters to Jun-ha every winter vacation. In the picture, the postman is riding a bicycle with the letter in his hand, and Jun-ha is running behind. The director quickly retreated through the front camera, and Jun Ha happily followed behind, and the scene became lively, echoing Jun Ha's happy mood when he received the letter.
From the picture modeling language point of view.
Most of the film perspectives use a head-up perspective, and the picture is stable and objective, but there are a few shots that are different. In the scene where Tae Soo talks to Jun Ha about killing the belt in the library before hanging himself , implying that something unusual will happen in the future.
In the scene where Tae Soo was hanged, the director used an extreme looking down angle of nearly 90° to show Joon Ha's panic when he rescued Tae Soo. It seems to be looking at all this from the perspective of God, and it also renders Taixiu's inner pain, helplessness and depression, implying an unstoppable tragedy.
The film is divided into two main tones, one is the normal tones of Zixi and Shangminshi in modern life. One is the warm yellow tones of the era of Jun Ha and Joo Hee. The contrast of the picture is not strong, creating a nostalgic feeling of old photos, which contrasts with the pure love between the protagonists and also distinguishes it from modern scenes.
In the arrangement of light, the film uses soft side light on the close-up close-up shots of the characters, which outlines the protagonist's face and is very soft at the same time. But when Tae-soo was pulled by his father with a belt, the father and son used a relatively hard top light for the lighting. Through such special lighting, the tough lines on the father's face when he was angry were highlighted, making the image look even more terrifying.
From an editing and montage perspective. The film uses a cross-montage editing technique to narrate. The film takes the emotional experiences of two generations as the main line and moves forward at the same time. The two seemingly parallel lines, in the process of narration, because of some hints and descriptions of details, keep approaching, and finally merge together, giving new meaning to the story of the two generations in the film.
The constant transition between the two eras in the film is bound to involve many transitions. For example, at the beginning of the movie, the first time we returned to the era of Jun Ha and Joo Hee was achieved by pulling the camera and freezing the transition of the picture. The yellowed photo was close to the audience and gradually became colored, moving and letting the audience move. Follow the camera naturally into the story.
From the perspective of the rhetorical function of audiovisual language, several visual elements appear repeatedly in the film to realize the "coding" of the storyline.
The pendant is the most important token among them. It first appeared when Joo-hee parted with Joon-ha in the firefly night. This token, when Jun Ha and Tae Soo confessed his relationship with Joo Hee, revealed that Tae Soo already knew the relationship between the two, but reluctantly maintained the relationship between the two from the standpoint of a friend, highlighting the difficulty of Tae Soo’s situation and inner heart. Pain, to pave the way for the development of the following. The pendant reappeared in front of the door of Tae-soo's ward. He couldn't bear to see that Tae-soo was hurt because of his relationship with Joo-hee. He hung the pendant on the door, implying that he wanted to give up their relationship and join the war. Later, Joo Hee saw Jun Ha again on the departing train and returned the pendant to him, and the pendant became Jun Ha's belief to live, so much so that he risked his life to return to the battlefield to find him. Returning the lost pendant, but was blinded because of it. After the war, Jun Ha and Joo Hee met again. Jun Ha wanted to return the pendant to Joo Hee, saying that it was no longer possible for the two of them, and he didn’t want to drag Joo Hee down. In the end, he kept the pendant by his side, and the two never saw each other again. . The last time the pendant appeared was when Zixi and Shangmin fell in love, and Shangmin took the pendant from his neck to show that he was Jun Ha's son. Since then, the pendant has fulfilled its mission. It is a clue that connects Jun Ha and Joo Hee's emotional ups and downs. It is also the key to connecting the two generations. It is a token of emotional inheritance between the two generations, symbolizing that love will eventually be rewarded, echoing the title of the film.
The action of blowing hair is reflected in Zixi's actions at the beginning of the chapter. It seems like nothing has happened, but it is actually the foreshadowing that the director laid down from the very beginning. Tae-soo is a cool guy. When he was bald, one of his favorite little gestures was to greet others with a wink. Later, during the student protests, when Joo-hee met him again, he kept it up again. At this time, his small actions turned into blowing hair, and these small actions also brought the character of Tae Soo to life. If it's just here, the audience may still not think of the relationship between Zixi and Taixiu. After all, these are trivial things. But then back to reality, Zixi's similar transition scene with a similar blowing hair immediately showed the audience the father-daughter relationship between the two, which is not ingenious here.
There are many scenes where Taixiu faints for no reason in the movie. It was inexplicable at first glance, but it played a role in the scene of suicide later, and also explained the reason why Taixiu died when Zixi was young.
"When the sun shines on the sea, I miss you. When the hazy moonlight shines on the spring, I miss you." This sentence appears many times in the film. It appeared in a gift that Min gave him, and again in a note that Jun Ha wrote to Joo Hee, implying that Sang Min was Joon Ha's son.
There is an obvious set of directorial shots in the scene where the relic is delivered to Joo Hee after Joon Ha's death. A rainbow appeared in the sky, and the young Zixi held the small fish in the puddle with her hands and released it into the lake. The meaning here is profound. Both Joo Hee and Jun Ha's emotional bond was finally released, and at the same time, it echoed the scene of the ashes being scattered on the lake, indicating that their relationship would blossom and bear fruit in future generations.
From the point of view of the music and sound of the film. Through 18 musical structures, the film sets up a brisk, soothing, joyful or sad emotional tone for the whole film, which is an indispensable part of the emotional expression of the film. So wide that I know this song and haven't seen this movie for a long time. The theme song runs through the whole movie. When Jun Ha and Joo Hee are sitting under the street lights, discussing their impossible future; when it is pouring rain, Joon Ha stands outside Joo Hee's house and desperately presses the lights off and on, hoping to be with Joo Hee. When Hee was reconciled, when Jun Ha separated and killed the enemy on the battlefield and risked his life to get back that pendant, when Joon Ha's ashes and relics were given to Joo Hee, this music can always bring sensational emotions to life. The breath is perfect and impressive.
Jun Ha reunites with Joo Hee at the door of Joo Hee's house. When the street lamp lights up and illuminates Jun Ha's face biting his lower lip, the brisk guitar strumming strums, which coincides with the sound of Zi Sheila's violin. The similar transitions of the sound are not abrupt. Later, on the way of Shangmin taking Zixi back to the library in the rain, this tune played again. The cheerful tune runs through the first love of two generations. The same sweetness is also a continuation of inheritance and feelings.
During the winter vacation, Jun Ha connected with Joo Hee in the name of Tae Soo, and in this series of shots, a rhythmically jumping violin concerto always sounded. The tune seems cheerful, but it also contains a hidden sadness that hints at a plot where the two will
soon be found out and cannot be together.
In the scene where Joo-hee and Tae-soo bid farewell to Jun Ha at the train station, the background music was a soothing guitar playing and singing, exaggerating the sadness of parting, and this music was played again at the reunion of the two after the war, echoing before and after. . So, from the moment Jun Ha stepped on the train, the two were destined to never be together again. In addition, when the scene of the reunion between the two began, it was unusually quiet in sharp contrast to the previous chaotic war scene. Through the conscious control of the ambient sound, the director hints that Jun Ha has gone blind through the silence of the sound sense, and the handling here is really ingenious.
"If Love Has Providence" presents a touching story of pure love to the audience through the careful layout of various visual and auditory factors. Although the movie has its shortcomings, it still brings us precious moving. This is a rare movie that allows you to touch the softest texture of love.
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