In fact, it's still a bit interesting. A basic knowledge of audiovisual language is: when a character is in the camera, the greater the scene, the greater the power. When several girls are kidnapped, the heroine still maintains her solitary character, so she is in two different frames with the other two girls on the screen to show that the heroine is psychologically separated from others, and she has a strong personality. Enter, the heroine herself is in a scene, other girls are in a scene, the actor is in a scene, showing the gap between the characters, the scene of the heroine is the biggest sign of her weakness, and when the heroine wants to deceive the child's personality , The heroine can be in the same scene as the actor of the child personality. At this time, they are equal. Even when the actor of the child personality runs over, a panorama is used to indicate that the heroine is dominant at this time, but the heroine fails to deceive, the child The personality of the male protagonist retreats, this time reflects that the female protagonist is using a subjective lens of the male protagonist, the heroine naturally becomes larger in this backward subjective lens, indicating that he has lost the advantage.
Generally speaking, a dialogue between two people is difficult to do well, but Shamaran made something interesting. In the middle of the film between the male protagonist and the doctor, the doctor persuaded the personality who had been reluctant to admit his name to admit his identity and finally gave it back. I was convinced. At first, the relationship between the two people was a little tense. When the hero cheated the doctor, the camera pushed the hero to indicate that the hero was dominant. Then the doctor persuaded the hero’s personality to admit his identity, and the camera was pulled from the hero again. The larger scenes show that the doctor has the initiative. Note: The doctor’s lens has always been a fixed mid-range single shot, while the main actor’s lens is moving. This shows the state of the two people. The protagonist’s mentality changes with the dialogue, and the doctor’s mentality is always fixed like the camera, and the doctor’s single-player scene means that she has no connection with the male protagonist and she can’t really understand the male protagonist.
Shamaran has always been considered to have inherited some of Hitchcock’s advantages. One of Hitchcock’s most important labels is the master of suspense. For example, the heroine in "The Cry" has been killed in the actor’s hotel. We viewers Knowing that going to this hotel is dangerous, but other characters in the movie don't know that these characters came to this hotel in order to find the heroine, we will worry about the lives of these characters, and suspense will arise. Similar suspense also appeared in this movie. We saw a few girls kidnapped to the hero’s house. We already knew that the hero’s home was not safe. When the protagonist's situation comes to his home, we will worry about the doctor's life.
As for the theme of this film, I think it is the mentality of the victim. The actor splitting these personalities is a self-protection mechanism. The male protagonist has been violated before, and the victim often hopes that their sacrifice will be Valuable. In order to convince himself that his suffering is meaningful, the actor claims that being violated is to stimulate the potential of people’s hearts, so he wants to kill two well-protected girls who he thinks will not produce potential, and finally let it go The heroine who has been violated and will be violated, because he believes that the heroine's body will also stimulate potential. In fact, it’s not just the victim. Everyone has this kind of psychology. The spiritual chicken soup will tell us that our suffering is for a better future, but in fact suffering is suffering, and sometimes suffering has no meaning. , It just happened, so I think it’s a bit of a joke in the end that the male protagonist really stimulated the potential to appear a beast personality that transcends humans. However, in the end, the actor really believed in himself. In the last pan of the film, he faces two mirrors and talks with each other with different personalities. Mirrors are often used as a visual metaphor for schizophrenia in movies. But the end is really a play. The camera shows Bruce Willis the title of the next movie, Mr. Glass, coupled with a cool music, the feeling of this strong commercial sequel is really amazing. What a show.
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