Summarize a screenwriting rule: When you want to make two unrelated story lines meet inexplicably, you only need to make the characters in them love, because love does not require logic.
I watched it 1.5 times to sort out the plot (I’m afraid don’t be a fool)
This kind of suspenseful story was of open significance in the 1860s, and many sections of it are still being used today. Let’s talk about the story line first. It’s a combination of two things that happened by accident and merged into one line. It’s a bit like Ye Chang Meng Duo (Ye Chang Meng Duo is more complicated and the screen shrinks). Compared with the screen in the north-northwest, the screen is opposite to the script. The presentation is perfect, belonging to the Peugeot commercial film model that did not touch the restricted area at the time.
1. The male protagonist played by Gary Grant is an ordinary advertiser. Ordinary days are suddenly interrupted by the misunderstanding of the Vandan gang. Vandan and his gang are suspects of import and export trade crimes that fbi secretly investigated and followed up at that time. Fbi is finally smart in this film. In order to protect the real informant Kando (a woman who combines intelligence and beauty) around Vandan, he made up a fictional man named Keplin, and wanted to use this virtual bait to attract Vandan's group. Unexpectedly, Van Dan insisted that the male protagonist was Caplin, and he caught him and tried to kill him. The surviving male protagonist had to find him and ask for an explanation. This completed the male protagonist's step. One motive for stepping into the event, I also finished the first line.
2. Van Dan and his team planned to take the auction item (a statue containing some criminal evidence film) to escape by helicopter from Colorado (the president is basically not in this state, it should be South Dakota). Fandan’s lover, Kando, is an informant sent by the Intelligence Bureau, and the Intelligence Bureau planned to let the informant board the plane to follow up. However, something went wrong and involved the innocent male protagonist. He rushed out of mutual affection with the female protagonist. Entering the auction, the gang suspected the informant.
The intersection of these two lines requires an opportunity for the hero and the hero to meet first, but they will definitely meet, because the action schedule of this non-existent character follows the informant heroine, but it turns from a virtual to a real one. Live bait, this makes me admire to the point of breaking my heart. For the screenwriters of that era, they should be unprecedented (starting from a non-existent character). The male protagonist has evolved from being forced into the role to actively chase this non-existent character. These only require a simple personality. It is the axis I mentioned earlier. And the male protagonist deduces a witty, personable, talkative, unwilling to give up, and an image of infatuation with his lover, plus his mother’s short-lived appearance, it can be said that only 20% of the image of "Axis" is self-denoted. Eighty percent of them were "reflected" by the mother, because the mother's helplessness and carelessness towards her son had completely regarded him as a psycho, and carelessly about what happened, she persuaded him to surrender to the police as soon as possible. This made the hero even more determined and walked to the dark, but he didn't stop until he saw Keplin.
After the host and the host meet, no one can foresee the occurrence of love. While the hostess pretended to protect him (also true protection), she cooperated with the gang to continue to lead him to a wasteland to get rid of him. But the male protagonist escaped from the wasteland again and came to the hotel of the female protagonist, that is, Keplin's hotel, and went to the auction again. This is the real match with Fandan. Van Dan intended to kill him directly, but unexpectedly, the male protagonist discovered that he was "cheated" by the female protagonist and was heartbroken. fbi informs the police station that the male protagonist is not a murderer. At this time, fbi really reached a temporary alliance with the male protagonist, and temporarily cooperated with the male protagonist for temporarily destroying the credibility of the female protagonist, which also resolved the misunderstanding of the heroine. The later plot is the more vulgar empty bomb, suspended animation, and desperate to save the lover. This is not necessarily a real climax drama, but the whole drama is a script that makes people climax continuously.
Discuss the classic plot that everyone talks about-the plane chasing and killing the male lead. This drama is praised because it creates a sense of tension and suspense in a very ordinary and simple scene. When I watched it, I guessed that this was the plane that Van Dan sent to kill him? Where did the bullets come from? Why do passers-by talk about this plane specifically? As a result, after watching it, I found that it was nothing. I don’t even know how useful this scene is to the plot? I can't find any meaning other than creating an atmosphere. The formal point is that it is full of absurd effects. This is the epitome of the French New Wave? Looking forward? The first shot? I hope someone can give me a bit if he understands.
Besides reversing the details, the most beautiful thing is the auction mess and escape from fbi. The auction messed up a scene, and the nasty male protagonist escaped the gang monitoring by nonsense. It made people hilarious, and escaped from the fbi window. The two stop of the woman in the next ward was the finishing touch...
The photography and editing of this film are good, close-ups always appear where necessary, and the camera positions in large and small spaces are particularly appropriate. If you don't play with flowers, it's good enough. The editing is based on some thoughtful transitions, sounds or logical relationships, not listed, otherwise I have to watch it 1.5 times...
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