The reason why this is a police and gangster movie that is different from ordinary gangster movies is that in addition to the confrontation between good and evil, the film also adds a line of emotions. The policeman Hanna and his wife and his wife’s daughters, Neil and Eady, as well as other policemen and thieves Family and friendship. Although there are many emotional lines, it is not obtrusive.
The picture that impressed me the most was Neil and Eady on the way to the airport. There was a section through a tunnel. After Neil finished the phone call, Eady asked him what was wrong. He smiled and said "Home Free", and Eady also smiled. Drove into the tunnel. In that scene, the bright light in the tunnel hits the two of them, which actually hints at the new bright life that is about to begin. But the car
finally had to drive out of the bright tunnel and into the dark night again, and after Neil calmly thought about it, he couldn't let go of Michael, and turned sharply and drove to the final tragic road. The interest in using light to express characters in the movie started from watching "The Pianist". Although not every understanding is correct, I believe that the director's light processing in the tunnel scene definitely has this intention.
After Neil finished, he smiled and walked towards Eady, but he turned his head inadvertently and found Al approaching him
. Looking at Eady so unbearably, but in the end he escaped by himself. In fact, after reading it, I was still wondering if Neil hurriedly got in the car and took Eady away, is it really too late? It is indeed necessary for the plot. Later, I thought that if I drove away at this time, it would be easy to be intercepted by the police, and it would also drag Eady and myself down. Neil, the lone ranger, will eventually face his tragedy alone.
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