Suspense, horror, mystery, science, technique, technique, and so on. There is nothing amazing about it. I can only say that it is quite satisfactory. Maybe the director also thinks that it is not easy to break through, so he added a lot of details that create tendencies. This is very It is easy to shift the audience's attention to the interpretation of the truth, while ignoring the lacklusterness of the movie and the story itself.
And such a story, it is meaningless to argue about the possible truth, there is no third-party perspective, and a balanced and opposed portrayal method, coupled with the closed idealism of spiritual problems, how can it have a realistic meaning The truth. In other words, it can neither be physically restored nor empathized, and there is no collateral evidence. Compared with this, it is more reliable to discuss whether there are ghosts or not in the world. Therefore, it is more appropriate to focus on the creation of the story and the way of narration. In line with the principle of comparison, discernment, you might as well bring the Shining out to talk about it. Here is a bit of a harsh word, the feeling that Confinement Island gives me is the copycat version of the Shining.
The same is a closed environment, mental problems, no third-party perspective, (the Shining is easy to overlook, this is where the Shining breaks), no truth (the Shining is also a story without truth, the reason is behind Can say) Two-line narration, draw right away. . . But it feels completely different.
Let’s talk about the confinement island first. The story adopts a balanced narrative method with open lines on both sides of the conflict. The first half is used to create the authenticity of Leonardo’s narrative, and at the same time, the courtyard’s right to speak is made in a way of wanting to promote and suppress. Preparatory reservations, such as the influence of drugs and tobacco, the individual words and deeds of a number of characters that are difficult to distinguish between false and true (the patient’s note, the female doctor’s statement, George’s advice, all of which are based on the illusion. The truthfulness of Leonardo’s position has also provided a sufficient explanation for the hospital’s turnaround.) When the second half of the writing suddenly changed, the hospital began to summarize the submissions, and Leonardo’s subjective picture became a matter of course. Disintegration. At the end, it again gave a hint with a strong tendency. To say that this kind of plot arrangement is really conducive to bringing the audience into the competition, but because it is too deliberate, it will inevitably give people the feeling of artificially making the ending by playing with the details. After watching it, I feel that the soul of the whole movie is neither a Rashomon-like search and helplessness towards the truth. It is not to reveal and explore the possibility of spiritual artistic conception, but to serve as a few props for justification. For example, the so-called aspirin and cigarettes in disguise, let this kind of strongly suggestive thing bear the effect of the whole plot, it is inevitable that it is not enough to flow.
The creation of the corresponding atmosphere in the Confinement Island is very general in my personal opinion. The creation of the environment, scenes, soundtracks, and special effects is too far away from Silent Hill. Even compared with the Shining, there is some distance. It is not aesthetically beautiful or horrible. It's not in place either. Some depressed places are often converted before they enter the state, making them a little bit overwhelming. It seems that the director is eager to finish the story and can't take care of it so meticulously. This is really a pity. It is said that this kind of closed-environment mentally thrilling film is easy to shoot, but it turns out that people watched it from beginning to end with no expression.
The only thing that can be praised is Leonardo’s performance. To be honest, many places give people the feeling of Nicholson, gradually changing eyes, slightly hideous expressions, and the emotional language of actions that erupt after depression. I quickly guessed one of the reasons for the director's intentions.
Of course, objectively speaking, Confinement Island is also a good film, the entertainment value is obvious, the overall balance is very strong, the talk is smooth, and there are no flaws.
Next, let’s talk about the Shining in comparison. Since this film should be very familiar, let’s just briefly talk about something that has not been mentioned in the discussions I have seen.
Many people are wondering why the Shining film is regarded as a classic, because it seems to be unremarkable now. There is neither Asian horror nor Hollywood blood, and the rhythm is abnormally slow. It is estimated that the Shining dozes off. Not an isolated phenomenon. And many people who regard it as a classic seem to focus more on the factors of the times, Nicholson’s performance, the creation of the atmosphere of the scene, the psychological loneliness and depression, and the changes in people under the influence of the environment. Ah wait, I have even seen someone say that they have created a "ghost perspective" shooting technique.
Here I also talk about the reason why I think the Shining is classic, that is, what I have seen is a similarly open ending with no truth. Another chilling possible ending hidden under Nicholson's death-the wife may be lying.
If you look at the Shining carefully, you will find that its two-line narrative is more sophisticated, and it can even be said to be a three-line narrative: Nicholson, wife, and children. Ming's seems to be narrated around Nicholson's psychological mutation, but in fact there is a dark line, that is, the surviving wife may be lying, and the child may conceal the truth because of fear or other reasons. Also in the entire process of the incident, there was no third-party perspective---the chef who came to the rescue was hacked to death by Nicholson as soon as he arrived. Didn't witness the coming and going. Some people may say that this also proves that Nicholson is the murderer. But whose description is all this? It belongs to the wife. Only she and the child survived, so only she has the right to interpret. Similarly, no one can prove that all this is not what she did.
In the film, the wife exists as a protector of the victim and the child, but no one can confirm this is the same. At the same time, the connotation of the film is much richer than the confinement island. There are a lot of detailed hints. With the help of metaphysical factors, it also uses many symbolic techniques. Behind the seemingly closed ending, there is actually a darker ambush. possible. If all this is the wife's lie, if all this is actually just an illusion of the wife, if this is all directed by the seemingly weak wife, or even the wife designed to murder her husband. . .
There is no truth at all.
Kubrick finally cut off the scene where his wife finally learned from the manager that her husband's body could not be found, and cut off the last point that might trigger the audience to consider in depth. It is this that makes the Shining classics unsurpassable. It uses the whole film to show Nicholson's mutant killings, but it does not contain a word to imply a more terrifying reality. It presents a seemingly closed ending, but it hides the gloom of human nature in secret. It's like making a joke with everyone based on their final intentions. The price is the audience's misunderstanding and their own thoughts.
I remember that I didn’t feel much about seeing the Shining at first, but then I saw an interview with the wife’s actor Sheri Duval. She said that in order to be true, Kubrick was going to drive them all crazy. , And even wanted to resign several times. Later, the Shining succeeded. When everyone talked about this film, they were all talking about Kubrick. "It's as if I'm not there at all."
It was these words that made me feel strange inexplicably, so I looked at the Shining again. When finally think of another possibility, that feeling can be said to be really enjoyable. This is indeed not enough for the closed island. Compared with the shining and silent nature, the closed island is more like using the director’s right to instill clues to the audience, and can’t wait to round out the story, and then Throw out the long-planned controversy ending. The ideal horror in a closed environment should be the story itself, and nothing has to be explained to a third party, just like Sheri Duval said.
"It's as if I'm not there at all."
It's as if no one is there at all.
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