After reading it, I always feel weird. The weird thing is because I feel that many details are inconsistent, illogical, and can't stand scrutiny, that is, some people's comments are messy.
But thinking about it again, I feel that I am also a relevant and tolerant viewer. I feel that this drama or a drama with a similar style to this drama is more focused on conveying the atmosphere. That is to say, if the viewer can be silent in the strange atmosphere created, then the effect will be achieved, and it will be considered a success. If you care too much about the details, it is difficult to enjoy the strong atmosphere that they have carefully created. Indeed, the sense of picture is relatively delicate.
So if you are watching this type of drama, it is best not to get entangled in these details? For example, I still can't figure out the rapid transformation of some characters.
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For example, Mrs. Martin knew that the child born by Jess would threaten Sam's status and cause disputes between the two factions, so why would he help him with the production? Maybe because only baby girls pose a threat? Baby boy won't? And didn't know babe's gender at the time? But whether it is a boy or a girl, it is known that 50% of the chances will definitely pose a threat, but still choose to help? Why did it have to wait until after the successful birth of a baby girl, the confrontation between the two factions was so prominent? Isn't this a two-party confrontation that has already existed in the imminent stage of giving birth?
Yet this is not the most difficult transformation to understand!
The hardest thing to understand is the scene where we look at why Helen helps Jess in production. Before this scene, Helen saw Jess slowly stepping into the water on the way out of the island, seemingly trying to commit suicide with the newborn baby who was about to give birth. So she went to stop Jess who was trying to commit suicide, rescued her ashore, and then helped her give birth smoothly.
Then Jess, who gave birth to bb, will immediately seize power? ? ? There is also a sentence such as being able to have a leader, which sounds like the meaning of completely eradicating the other party. Then I want to ask, why did you go into the sea to commit suicide before? You are a person who just committed suicide! Could it be that he was deliberately acting a bitter trick for Helen to see? But at that time, I didn't know that Helen was Sam's wife, so how could it be calculated that Helen happened to meet him when he was about to commit suicide? A person who is about to commit suicide with a bb, immediately ignites his ambition to be a leader after his bb, I...
At the end of the whole film, he said to Helen that he wouldn't hurt your girls, and to Sam that you were my daughter's father, so he wouldn't hurt you anymore? So when you are in power, you become the leader, and it doesn't matter if everyone else stays alive, right... What's the matter?
Originally, Mrs Martin explained that the little boy was the child of the previous leader, Sam's uncle and an underage girl, and he was blood related to Sam, but not his son. Finally, I had to add drama to the boy and said to Helen: I know you didn't mean to say that, you always wanted mine. This raises questions about whether the child is Nathan in the end. In my opinion, this stalk is really the most old-fashioned stalk in the whole film. It has been used for decades in film history and no one will use it. How can it continue to appear in film and television works in 2020? This is too contrived, too redundant, and probably the most unsightly stalk in the whole film.
Those other surgical equipment and all kinds of bloody things are really convoluted. I feel that the first three episodes can be endured, and the last three episodes collapsed directly. After all, the excellent visual pictures are relatively concentrated in the first three episodes, and the last three episodes are not seen at all.
I don't know why Helen was spewing feces all over the child's face. In general, normal parents shown in British and American film and television works, even if they can swear again on weekdays, they will at least restrain themselves a little in front of their children. After all, they have to educate their children not to swear, right? The role of Helen does not hide it at all. What kind of education is this? Or maybe she wasn't normal at all.
In the end, the mother and daughter fled ashore, and the camera kept close-up of the bag containing the money and Helen holding the bag tightly. He firmly grasped the bag containing the money first and hid it inside his body. After that, I slowly remembered to hold my daughter. Eh, I really don't understand. She didn't go to the island to look for a careless husband, she just wanted to get the money back. Now it's the same when she escaped. First, she hugged the money tightly, and then slowly put it into her arms.
The close-up of the process of this scene really took a long time, and I was puzzled. What are these close-ups trying to imply? Is it implied that the money is all Helen's motivation is? But to try and understand, she did say something to Sam, this money is my daughter's future. Okay, so is it understandable to hold the money tightly and hold it in your arms to protect your daughter's future?
but I want to persuade Helen, you just escaped from the island. escape what? The escape may not be life, because Jess said it won't hurt you and your daughters. What's the point of escaping freedom and your daughter's future?
Since that's the case, money is something outside of you. Isn't the first thing you do when you escape to hug your daughter first? As a result, the first thing is to hold the money. If you don't even have a daughter, is the money still your daughter's future? So what do you really want is money? Still trying to use her daughter's future as a high-sounding excuse?
To be honest, the only normal person with an online IQ in the whole film is Lu, the youngest daughter. If Little Lu hadn't carried a knife on his body, there would have been no chance of him escaping later. After escaping, in the hut, she immediately hugged her mother and tried to warm her with her body temperature. Really only this character is warm and normal, completely unlike her sister, who has not inherited the gene for neurosis in their family at all. Others feel like a bunch of neuroses, none of which are normal. (This little daughter might not be the biological father of Sam, so smart, it's not like a family, hahaha)
Thinking about it this way, it may be wrong for me to have to deliberate the logic before and after in an atmospheric film that shows the beauty of the picture. Whether it's nitpicky or not, I don't know. Maybe it’s better to appreciate the pictures in such a film, because there is no logic at all. If you insist on pushing the logic, not only will you not be able to find any logic, but it may also destroy the only beauty of the picture and the meticulously created atmosphere of the film. .
I still gave the three stars very leniently. It's okay. The three stars are completely used to affirm the reliable acting skills of the veteran actors of the crew, as well as the visual images and atmosphere creation. As far as the matter is concerned, the good points are worthy of recognition, but the details of the story are not solid enough, but maybe this is not the focus of this drama...
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