The effect of lens clipping hints——
The resonance and uneasiness that "Escape from Tehran" can bring to people does not lie in the bright theme and personal heroism of the movie, but on the contrary, what can really make waves is the opposing depression and gloom.

Regarding the delivery of freehand feeling and depression on the camera, I have to mention the British director Christopher Nolan. Nolan is a director who is very particular about the use of camera imaging and can even be said to have reached the point of paranoia. It can be seen from "The Dark Knight", "Inception" or "Interstellar" that every frame of Nolan's lens will visually bring the audience a feeling of depression or realism, but this kind of lens is Nolan itself. The intuitive experience brought by the application of cutting and lens optics.

"Escape" (hereafter referred to as "Escape from Tehran") director Ben Affleck has similarities with Nolan's style and technique in the use of shots, but they are not exactly the same. The film always has a strong 70s color style, and the shooting technique and perspective are almost the same.
This is a "two-line and one-line" and "single-line fractional line" movie. Both directors prefer to filter the lens and use the difference in depth of field to create a realistic or oppressive feeling through the intersection of the lens and the plot.
But Ben Affleck is not exactly like that. The same kind of lens Nolan is intuitive and directly gives the audience a sense of pressure and depression in light and shadow. But as far as "Escape" is concerned, Ben Affleck is not so obsessed with the camera. This feeling of depression and urgency is conveyed on the light and shadow, but on the basis of a certain accumulation of the plot and internal and external conflicts, the subjectively understood plot and the scene are combined, and the audience is implicitly brought into it by the hints of the plot again and again. A sense of urgency and depression. This is not whether the two methods are better or worse, but the two directors have their own strengths.

In the film, the protagonist Mendes is repeatedly warned nonchalantly: "If you are arrested! The CIA will not recognize you!" This allows the audience to understand that this job is not only dangerous! And it's an international scandal! However, the dangerous consequences and scandal were not shown and informed in the first half of the film's opening. On the contrary, the background and "B story" are fully explained in the first half of the film. So what is a B story? What does it have to do with the plot?
As the name suggests, "B Story" is a secondary story next to the main story in the plot. The main story is that the protagonist goes to Iran to rescue the six hostages in the Canadian Embassy. So where is this "B story"? If an excellent movie is only supported by the plot, it is difficult for it to be excellent without other discussions. In "Infernal Affairs", Tony Leung and Andy Lau's respective emotional roads and their fetters led to the final rooftop duel; it is obvious that the B stories of general non-emotional movies are usually emotional fluctuations, and some even emotional movies Its B story is still emotional fluctuations, "The Temperature of Love" (starring by the new Korean actress Kim Min-hee), in my opinion, is a very depressive movie; or the well-known "Happy Together". An excellent B-story movie, first of all, in the plot, it must complement and interact with the main story. Not only does the opening assist; but the end echoes. So if it is separated from the main story and independent of each other, then this movie can hardly become an excellent B-story movie or a non-mainstream movie. So the story B of "Escape" is obvious, between the emotional bond between the protagonist and his wife and son. It was a phone call with his son that made Mendes at a desperate moment the idea of pretending to be a film crew to enter Iran to rescue the hostages, thus unfolding the main story below. And the end is the emotional foreshadowing that Mendes and his son have laid before, allowing the protagonist and his party to pass through the human emotions when they are inspected by the final army.

When the protagonist steps into the Tehran mainland, the depression of the camera fills the entire second half of the storyline. This is in stark contrast to the previous protagonist’s time in the United States. It’s not that "Escape" is playing mystery, but the reality is precisely so urgent and oppressive. When the protagonist first stepped into Tehran, his side was crowded with Iranians who could kill himself without breaking the law. More importantly, Mendes must always pretend to be Canadians, no more than dancing on the tip of a knife, which can be said to be perilous. The camera turns! An "American" was hanged on a trailer! All the Iranians below are accustomed to it, the bazaar is still a bazaar. Even if there are people hanging from above! It doesn't matter because he is an American or the public thinks he is an American! It just confirms that sentence: History always starts with farce and ends with tragedy.
The film tries to tell the audience: This is a fall of public morality. The blind massacre of Americans in the community will not only not become criminals, but a matter of course. This is very terrifying when the public has this kind of dehumanizing thoughts or even accidents, because once the society makes a mistake and is not stopped accordingly, the consequences will be disastrous. The constant footage in the front suggests that it is showing the audience the mental state of the protagonist Mendes, and the frequent jumps and cuts from here are also the key to creating an atmosphere.

As mentioned earlier, "Escape" is a "two lines and one line" movie. When the "two lines" merge, the film contradiction arises at the historic moment. When the protagonist Mendes arrived at the Canadian Embassy, for the six hostages to be rescued in the Canadian Embassy, it was natural to question the protagonist’s ability to rescue the stranger who claimed to rescue everyone. Because as long as you accept the rescue, you have to pretend to be a Canadian to face the Iranian who may kill you at any time. The hordes of Iranians outside would rather kill a thousand by mistake than let an American be spared. The hatred has blinded the eyes of this society, and the desire to kill has filled everyone outside with a desire for violence and a desire for life. disregard. Without concealment, the Iranians outside are bloodthirsty wolves to everyone, and they are sheep that can only hide without the ability to parry.
So going out, you can imagine the harshness of your own psychological quality, but hiding in the embassy will temporarily be fine. This is how the hostages and even everyone more or less evade their own human defects. But it brings into the audience's psychology, that is, knowing that there will be harms and no gains in going on like this, but now it is still at ease, but it is unwilling to change. To put it bluntly is procrastination. Because human nature is really elusive, showing that the greatness of human nature is generally unconvincing and unable to produce a strong sense of enthusiasm. At most the audience will admire and be moved by the greatness of the protagonist after being amazed. But when it comes to the proper dark distortion of human nature and cruel escape from reality, it will resonate strongly and be brought into it. No more specific explanation! You can refer to the two films "Travel to Busan" and "Pandora" that have been released in South Korea in recent years!

The six hostages spent 79 days trembling in the embassy with extreme tension. The Iranian Revolutionary Army is also searching house-to-house and may search here at any time. The slaughter that will come at any time has also caused a great collapse of the hostage's spirit. The lens uses internal and external cross-rendering to allow viewers to accept the repression and fatal urgency of hostages, including later external contradictions, and frequent cuts of multiple lenses. They are all displayed in a strong sense of substitution. TV reports, various renderings and cross-narratives, and finally did not even give the audience a breather break. A dangerous node followed by a dangerous node, especially the last protagonist of the film, the U.S. government, the Tehran Revolutionary Army, and the studio. , The tight editing, the anxious atmosphere, and not winning with the hot shots, but made the audience feel impatient and worried for Mendes and his party. Of course, the irony of the US government at the time will not be discussed here because the reality is far from In this way, the final appearance of John Goodman and Alan Akin is really a bright spot.

The difference in reality-
The film’s apparently excessively exaggerated Iranian Revolutionary Army’s crazy chasing of aircraft is not entirely fictional. According to the person’s Tony Mendes’ account, a dramatic flight failure occurred when the aircraft took off. This was also rare in the global aviation community at the time, and even at that time. The hostages on the plane began to collapse, which also continued to stimulate and deepen Mendes' fear of this matter. He recalled: suffering is the most painful. I feel that every second will be chased by the Iranian Revolutionary Army, bringing him back and cruel public executions. In just a few minutes, he almost collapsed and experienced several wanderings on the edge of life and death, which also contributed to the final film. The airplane chase scene is to express the urgency and anxiety of the parties in reality. After being awarded the "Pioneer Award", it was also mentioned in his later book "Master of Disguise".

The name of the movie is "Argo", which is the name of the movie that Mendes chose the rescue plan script in reality. It was also the "Hollywood Rescue Plan" revealed after 1997. At that time, Mendes held a press conference and published articles in many media. It is clear that the preparations for the film and the preparations for this scam are quite meticulous and large. Therefore, after the rescue plan is completed, the domestic media in the United States thought that "Argo" would continue to be filmed, so the film only took 4 days to create Studio Six (the sixth The studio) later received several scripts, one of which was Steven Spielberg, the two-time Oscar winner for best director.

The embassy involved in the film is not limited to Canada. At first, six hostages escaped in the chaos with the help of the chef. Five of them hid in the apartment. Another one hid in the Swedish embassy and contacted the Canadian embassy. After that, six people hid together in the embassy. Embassy of Canada. These 6 hostages are only part of the lucky ones of all 66 trapped hostages. The 79 days used in "Escape" is only a branch of all the hostages trapped for 444 days. And in reality, the Swedish Embassy has been "connected" more than once. The CIA initially gave Mendes a wrong version of the old map. When Mendes first arrived in Tehran and arrived at the designated place to connect with the contact person, the other party said that they did not understand Mendes language. , This made Mendes confused. After many inquiries, he realized that this was the Swedish embassy and that the other party was just an ordinary young man. This made the extremely cautious Mendes laugh. Later, he also suspected that the other party had recognized himself. Spy status.

There are more than one such mistakes. Canada issued passports to Mendes and his party out of humanitarianism, but was mistaken by the CIA for the Iranian Persian calendar. As a result, the time of action had to be postponed. Mendes was called on the phone at 3 a.m. on the day of the escape because he had actually slept. Then when boarding the plane, one of them dressed up as a punk style, wearing extremely conspicuous clothing and matching gold chains. Mendes recalled that he had no alternative but to convince the Iranians in pursuit of truth.

In reality, Iranians are not bloodthirsty and murderous, and public shootings are mostly "disguised shootings." Actually, Americans who have killed themselves committed suicide and hunger strikers, although they were only a lot more murderous than the Iranians. Iran is an imperial country. The former King Paweli did not abide by the doctrine and worshiped Western culture and lived extremely extravagantly, which almost destroyed his finances. Later, he united with Britain and the United States to damage Iran's oil interests. Therefore, for his dictatorship, a revolution in Iran is inevitable.

Later, Pavelle died of illness, which made the situation in the United States and Iran very embarrassing. 60 hostages were not left, and it was impossible to let them go. Jimmy Carter was questioned about the future of the remaining 60 hostages during his re-election campaign. Carter did not respond positively. This is also one of the reasons why he was not selected for re-election. When Reagan succeeded, 60 hostages were released in Iran a few hours after Reagan succeeded. Carter But there are still some difficulties. Because any details of the plan cannot be disclosed to the public before the implementation of the plan, even if Mendes rescued the 6 hostages, it is still the Canadian ambassador's contribution to the outside world as the film said. This is also an extremely ironic point for the US government.

The director's personal style charm——
The most intuitive comparison of director's personal style charm is no more than the difference in shooting techniques between two directors of the same subject! Therefore, the two works that were released in 2003 and 2013 with the theme of "Old Boy" are really the first choice. The former was filmed by South Korean director Park Chan-wook and the latter was directed by American director Spike Lee.

Asexual suggestion is not simple and admiring, whether it is the spider crawling into the female protagonist’s pubic area in "Stoke"; or the many symbols of "Miss" that symbolize obscure sexual desire, such as octopus, ink, rattlesnake, etc.; or "Bat" flashing light and dark Ambiguous, Director Park Chan-wook’s personal charm and the use and cutting of various lens languages are very proficient. In addition, Park Chan-wook also knows this unique and obscure technique and style very well, so the charm of the theme of "Old Boy" is really compatible. The director’s personal cutting style is inseparable. It can be said that "Old Boy" breaks away from Park Chan-yu's obscure style, and loses its unique and obscure charm, although this technique is slightly overdone in "The Kindly Gold", and then shows a little formalism. But this does not prevent "Old Boy" from becoming an excellent and unique movie.

Obviously, Spike Lee wanted to get rid of the shadow left by this Park Chan-wook style and the previous work, and create his own style of "Old Boy", but he obviously did not realize that this theme was not created by him. The reason is that he cannot or cannot shoot such an obscure subject, so he will not create it. He just looks at the novel script and wants to try it out. I really don’t know that his own strength is different from the others. The character image of Spike Lee version Embarrassment, resulting in insufficient motivation in the plot, and no ups and downs in the rhythm arrangement, except for the action and fighting scenes. But other than that, the characters have flat personality and far-fetched actions, so they can only hope for the Park Chan-wook version. The combination of the director's personal technique and the script can present such an "Old Boy", so the two are really inseparable. In addition, this is a non-mainstream genre movie. It is not possible to narrate it from a mainstream perspective. It may not make sense to put aside the obscure symbols of the original film, and it will only appear to be excellent.

If there is no change in the protagonist's emotion or position in a movie, it will be difficult to drive the audience into the development of the plot, because the protagonist has not yet how to make the viewers ripple. After Spike Lee’s version of "Old Boy" was filmed, it seemed that only the director was narrating plainly, without the huge shock and emotional ups and downs of the Korean version, and the only emotional fluctuation was the shock and regret at the moment when the protagonist knew the truth, but in a blink of an eye Let go again! Therefore, it is difficult to persuade the audience to be interested in watching a screenplay movie that already knows the result. On the other hand, in the Korean version, the protagonist was unable to accept the facts and was hypnotized at the end of the film, making himself forget this memory. This can also be seen as a blow to the protagonist, and then the protagonist and the heroine hugged and ended in the snow. This could have been a reverie. The obscure and metaphorical plot is the most commonly used and favorite in Park Chan-wook's movies, and it is the combination of this symbol and the theme of "Old Boy" that makes this famous "Old Boy", and the protagonist From a naughty and crazy man to an uncle who has lost his soul, he is also very good compared to the US version of the ending.

In addition, the word-of-mouth of "Old Boy" was so popular at the time that the subject matter was novel and the director was skillful, but such an anti-mainstream film was full of father-daughter incest, brother and sister incest, self-mutilation, imprisonment, and pornography, making it difficult for the Korean people at the beginning of the new century. Accepted. At the beginning of the movie, there were mixed reviews from outsiders. However, "Old Boy" was nominated for the main unit of the Cannes Film Festival competition and was nominated for the Grand Jury Award and the Palme d'Or.
Park Chan-wook was also flattered by the sudden honour. It can be said that the honour that a movie can get is no better than that of "Old Boy". How did a film of "Old Boy" get the Cannes Jury Prize and Palme d’Or nomination? The reason is naturally also in the jury. The chairman of the jury at the time was the Hollywood "ghost" director Quentin Tarantino. Why is it called a "ghost"? "Kill Bill" "Kill Bill 2" "Human Skin Inn" "Human Skin Inn 2" are their works. (It is recommended that you don’t know the "Human Skin Inn" and don’t search for the last two works) Quentin’s taste is also a glimpse of his works.

Therefore, Quentin saw Cui Minzhi cut his tongue, various incest plots, lustful hints, and obscure plots in the film. It is no exaggeration to say that he can't put it down as a treasure. Therefore, Park Chan-wook returned from Cannes with a rewarding experience. Not only did he win the grand prize, but he also had an overwhelming reputation. This also contributed to one of the reasons why "Old Boy" became so famous.
Note: Quentin, one of the few famous Hollywood non-assembly line directors, in addition to the aforementioned famous works include "Falling Dog" (inspired by "Dragon and Tiger"), "Pulp Fiction", "Shameless Bastard" and he is also a Chinese fan. , I also admire the director Wong Kar Wai. Including the latest Oscar best film "Moonlight Boy" director Bali Jenkins is also a fan of Wong Kar-wai. Some shots of "Moonlight Boy" pay tribute to "Happy Together". Wong Kar-wai's friend Stephen Chow pays tribute to Wong Kar-wai in several movies, "A Westward Journey" The "ten thousand years" in here also originated from "Chongqing Forest".
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