"Not Guilty Murder: The Colliny Case" as a whole exudes a long-lost "classic drama" temperament. Around a homicide case, the court battle between the prosecution and the defense is used as the story line to create a series of characters with motives and personality characteristics such as lawyers, defendants, and victims. Finally, it brings out social issues with a lot of historical depth and completes the sublimation of the theme. And it leaves people with a broad space for thinking, with a lingering aftertaste. A keen audience will naturally realize that the above evaluations are suitable for almost all classic classic films on legal themes: "Assassination of Kennedy", "In the Name of Father", "Prosecution Witness", "The Grand Trial"... etc., are familiar routines. , But it can be a classic, naturally each has its own characteristics. And being able to compare with these classics is already a privilege in itself.
At the beginning of the film, the crime itself was explained in the form of "blank"-the process of the crime was omitted, and the old man's surprise directly cut into the blood of the suspect, and appeared in the hotel lobby in shock and horror. I was spoiled by the "reversal and reversal" of the "cunning narrative" I once guessed that there must be some hidden information at the scene of the crime, leaving it to the court to expose it, creating an atmosphere of suspense. Unexpectedly, the temperament of the film is so classical-the missing crime scene was finally revealed, just to shape the characters and set off an emotional climax. After the hearty revenge drama "The Heart Horse Kills the Chicken", I can't help but reflect on whether the plot of the movie needs so much "reversal" and "baggage"? Have we already gone too far on the evil road of "narrative capitalism"?
The so-called "narrative capitalism" is a term I invented, which is to try to pack as much information and clues as possible within a limited length of the film (series), and create numerous "reversals" to capture the audience's attention. Originally, creating "unexpected, reasonable" suspense is the mastery of feature films. Otherwise, there are neither magnificent scenes nor fierce spectacles. Why should the audience stare at a few actors and see the end stupidly? Movies like "The Prosecution Witness" and "The Very Suspect" have all made a generation of classics with dramatic reversals. "Reversal" itself is not original sin. It is a pity that in recent decades, the tendency to "reverse" and "reverse" has intensified. In order to open the audience's stunned dignity, screenwriters have begun to abandon characterization and rationality of the plot, and blindly pursue "minute minutes". "Excitement" and "stunned every second" not only do not care about the character characteristics of the characters, but sometimes they can't even close the plot before and after. What's more, dig a hole instead of burying it. Please look forward to the sequel, as long as you coax you to watch the full movie. The choreographer has abandoned even the basic professional ethics, which is really disheartening.
Under this wave of tide, so-called "high IQ movies" have been derived, such as "The Invisible Guest", "The Mirage", "Network Lost", "Terror Cruise" and so on. The best among them, of course, is the work of Christopher Nolan, who is regarded as a new master by fans. For each of his films, no matter the genre is science fiction, war or crime, the intensive amount of information and the startling suspense is an indispensable standard and one of the secrets of success. But even these interlocking and logically conscientious works, in my opinion, it is not worth the gain-it gives way to the main body of the film "people" to the "story" and exchanges the depth of human nature into narrative pleasure. Is that also true? A kind of sacrifice?
In contrast, the "old school" of the "Colini Case" is actually a valuable quality, although it has been out of our sight for too long. The audience watched the entire film and remembered not the anxiety of being lost in various calculations and mazes, but the clear and vivid characters and the main thrust of the screenwriter. What I remember is a family ravaged by war, a few victims who were deprived of their normal lives, their experience of tears of sympathy, and the awe-inspiring people of conscience who took the risk to regain justice and maintain justice. Righteousness. When I saw the backs of the father and son walking away hand in hand in the twilight of the small town, it was a bit of emotion that made people choke with speechlessness. A kind of sublime catharsis and sublimation spews out, which is the realm that a good work of art should reach. Far from being comparable to all kinds of artisan "high IQ movies".
The settings of the main characters in the film are very interesting. An Italian blue-collar murdered a German rich man, faintly drawing our attention to the Second World War more than 70 years ago. The lawyer who served as the defense attorney came from a Turkish immigrant family, and his opponent was a blond and blue-eyed former mentor who had participated in the formulation of a draconian law to protect the remnants of the Nazis. The protagonist breaks with the equally glamorous blond rich lover and hires an Italian wife. All these settings have a leftist stance that sympathizes with minorities and marginalized ethnic groups, and pin their hopes for social progress on them. Of course, the tendency does not matter whether it is good or bad. Just consider that the entire Western Christian culture is based on the belief in Jesus Christ who was sacrificed like a lamb. This rock-solid belief will naturally affect various works of art.
Finally, I pay tribute to the old hero Franco Nero, who plays the criminal in the film. Young fans may not think that this seemingly humble uncle actually has a proud resume comparable to Clint Eastwood. His most famous screen image is "Jiang Ge". That's right, it was the "Jiang Ge" that dragged the coffin to the west and was so fascinated by Quentin Tarantino that he made a grand tribute to the "Liberated Jiang Ge" a few decades later. Although he looked dull for most of the time, it was just a plot need. As the truth was revealed, his coldness faded away with memories, and he killed his father due to unintentional loss in childhood. He grew up unmarried and infertile and determined to revenge. The rich layers of the "criminal" are explained one by one. His excellent performance proved that "ginger" is indeed hotter as it gets older.
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