The SARFT’s universally-famous censorship scale has become the plot backing of "Drug War" this time. Since evil can’t win the battle, then we simply lose both sides. We can also catch thieves and highlight the spirit of public security’s heroic sacrifice. The corner of the loophole is like a prescription. We want to see a breakthrough. Why doesn't the General Administration want to break the ice? If Johnnie To cannot conquer censorship, then it might as well allow censorship's expectations and tolerance of film scales to achieve this mainland study of Galaxy Image. The film does not have too many narrative skills. In the traditional single-line plot, the plot has been reversed many times. There are big bosses behind the scenes. The poison grid continues to expand, but the relationship between the characters is getting more and more aggressive and waiting to be reached. It burst out suddenly at the last moment. This time, Galaxy Image has successfully generated internal tensions and conflicts under various conventions and inertias of censorship.
I have always felt that it is possible to divide Dusir's films in this way. The characters in the black-eating-black stories are always self-exiled, chic and cool, and the characters in the black-and-white stories always have a sense of involuntary fate. This time, the two are perfectly integrated. The police control the drug dealer in the first part, and then the counterattack by the drug dealer in the latter part. The change of interest is not reversed by narrative skills, but driven by the choices of the characters. The film appears to be a duel between Cai Tianming and Team Zhang, but it is actually a three-legged battle between the police, Cai Tianming and the drug dealer behind the scenes. In the first two thirds, the police led by Team Zhang always used Ming Tsai to deal with the big guys behind the scenes. When we always thought that Ming Tsai was a pawn, the plot reversed rapidly according to Ming Tsai's change of thought. A summary of the three is that all policemen are insatiable, and they want to lay out big fish when they catch a small one; all the bigwigs are simple and naive, thinking that strategizing is actually a turtle in the urn; the ruthless will always It is someone like Cai Tianming who walks in the middle of landmines and has infinite demands for survival.
For audiences who are familiar with movies, "Drug War" has already formed a plot and a character from the selection of themes, because we are all too familiar with Johnnie To's movies. But this time Director Du gave a sense of freshness. The mainland background and the Hong Kong-style police and bandit model collided with a different texture. This freshness is rooted in the traditional police and bandit model and does not give people a four-dimensional difference. A sense of embarrassment. The arrest of the toll booth at the beginning of the film established the black tone and realistic style, and with the development of the plot, the emergence of drugs has created a shocking moral atmosphere. And this time the director was very solid in telling the story and didn't have too many skills, recording actual events to make the movie believable. Both the Hahage meeting and the confrontation with the 7th Gang of Hong Kong people set up unique passages to transition and connect, making the film's narrative meticulous and smooth.
The great contribution to the film’s excellent storytelling is that the script pays attention to characters and details. The police has no money at the toll booth. As a drug dealer, Cai Tianming mourns his wife while crying. Details such as these are everywhere and the relationship between the hostile parties appears foggy. Seeing flowers inside is really tempting. At the same time, the lines of the characters in the movie are few and precise, and the dialogue is uniform and regular, and the expression that does not attract the attention of the audience is explained by the screen to explain the subtext. Such a setting can ensure that the actors reveal the complex motivations and emotions of the characters through delicate performances, especially the scene where the death penalty is injected at the end. Of course, a film that condensed the essence of the film can best show the film at once. People first saw something similar in the film. In the climax of the film, we once again experienced the small scenes and the big battles. Violent scene scheduling. The action scenes in "Drug War" pay attention to accuracy and realism. They are not Wu Yusen's exaggerated shooting, but the slight rhythm of stopping, fighting again, and stopping, using the static moment of the rush to keep the gun battle scene slightly slowed and scattered. There is a sense of rhythm. The greens of the gun battle can not only advance the story, but also delay the development of the plot, making the story turn around in the process to the ending.
"I just look at the conscience of a drug dealer. Many people will die for his escape. We did this ending for a reason. The motivation at the time was to make a story-one person does not die, but many people die." I remember that this is the answer by Director Johnnie To about the theme of the movie in an interview. I have always felt that every director, or at least a director with a personal style, should come to a serious director's explanation before the release of the work. It is necessary that the themes and themes can help enhance the artistic effect of the film, and can also guide The audience's accurate interpretation. Some viewers who are still obsessed with the past galaxy video works still think that stopping at Gu Tsai at the end and driving the school bus to escape successfully is the best choice, but in fact it is not the case. The shock of the story is far less than the shock of humanity. In the end, Gu Tsai was injected to death. The evil and ruthlessness of Gu Zi has perfected the motivation and emotion of Gu Tsai's entire film, and completely revealed the darkness of human nature. This is what the master should use.
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