There are some other, extra things than the "Martin Scorsese" gangster movie. For example, the relationship between father and son is less brutal and bloody, weakening the violence, and more of an inexplicable emotion.
Sullivan once said to his son Mike that he can't go to his aunt's house now, because the killers who hunted them knew that they were going to you. This foreshadowing was planted from the middle of the film until the end. When the soothing, low-key and calm music accompanied Sullivan into the snow-white house, my heart was always uneasy. I knew what was going to happen, and at the same time I was waiting for it to happen, and I didn't want it to happen. At the same time, you know it will happen. When two harsh gunshots came, Sullivan fell down even though he had been prepared for a long time. I wonder why they can't have a happy ending? Probably because of what the villain boss said, since you have chosen this kind of life, you must bear the price it brings.
The film is rich in details, with foreshadowing and hints everywhere.
For example, Sullivan once said that the people who hunted them knew where they were going, so they couldn't go to their aunt's house until the time was right. Sullivan thought he had solved all the troubles. After all, they had indeed solved the villain's boss and his son, so all the grievances should really disappear with their deaths. However, what Sullivan didn't expect was that the killer who was chasing them was a guy who would never give up until his goal was achieved, which was hinted as soon as he appeared on the scene-he found that the target he had succeeded could still breathe, and immediately used a handkerchief to make him It suffocated to death. From here, it is not difficult to see that this killer is a cold-blooded, calm, and unrelenting veteran.
For example, Sullivan's ending also has many hints. First, the killers who hunted them down would definitely hunt them down to the end. Second, the killer also knew where they would end up going. Third, the boss of the villain once said to Sullivan (and to himself) that since he has chosen such a life, he must bear the price it will bring. Maybe he had thought of such a day, so he was so calm and even relieved in the face of Sullivan's revenge.
For example, Sullivan once said to his son Mike that he did not want Mike to be like himself. So in the end, when Mike pointed the gun at the killer, Sullivan's face was full of nervousness and denial. When Mike finally didn't pull the trigger, he breathed a sigh of relief and could go with confidence.
For example, the couple who helped Sullivan heal are destined to be Mike's next home. For one, they were kind and simple, the kind of people Sullivan wanted Mike to be in the future. Second, they like Mike very much. Third, Mike respects and worships his father, and wants to be like his father, but he seems to have spent his whole life with his father in the weeks of running away and revenge with his father, so his will has been fulfilled, and now his father No longer, facing the reality of the rest of life, it is time to live according to his father's wishes.
Saying it's a bit like "The Perfect World", but not so pure. The plot is relatively ordinary, and the development of the plot is relatively slow. Fortunately, the director has found a relatively perfect balance between the dramatic conflict and the relationship between the characters, so that it is not too inferior to traditional gangster films, but also has a touch of humanity, family and friendship.
Sullivan admires the boss of the villain, but the principle of helplessness cannot be ignored, and the bottom line cannot be crossed. What manifests in them is a kind of helplessness that "people are in the arena and cannot help themselves". But at the same time there is a special feeling of mutual fulfillment and mutual understanding.
In addition to the humanity and emotion, the performance of "Tom Hanks" and the villain boss is convincing, really textbook performance!
Finally, some lens designs.
The director has tried to soften the violence and gore from the very beginning.
Mike accidentally saw that Sullivan's murder was a distant view. Through the lens, he could only see someone shooting and someone falling.
On the rainy night when Sullivan took revenge on the villain's boss, the villain's boss was in the light and Sullivan was in the dark. This contrast of light and dark highlights that Sullivan must use a strategy if he wants to win alone. From the side, it shows that Sullivan is just an ordinary person and not invulnerable. The ensuing shootout is a model of violent aesthetics and is one of the most exciting shots in the film-a fire snake suddenly spewed out of the dark, and as the shots were cut scene by scene, the guards around the villain boss fell one by one. At this time, silence is better than sound, and a visual feast begins. Sullivan was doing the work of a gangster. He had long been accustomed to killing people, and he was insensitive. When he pulled the trigger at the target, what came in his ears was not the sound of gunfire, but the cold-blooded ruthlessness. But when he really faced the villain boss he respected, the cold-blooded and ruthless disappeared, struggling and difficult to start climbed into his heart, pulling the trigger with difficulty, and his ears were filled with deafening gunshots.
The villain's boss's son was not a respectable man, and his death was only passed on by a mirror image on the glass of the bathroom door. On the contrary, Sullivan was unobstructed all the way, and the elevator and the door were specially opened for him.
Sullivan stood in front of the window with snow-white walls behind him. The blue sea and blue sky reflected by the window glass made it difficult to see the situation in the house. Accompanied by the soothing music, Sullivan smiled and watched Mike and the dog raised by his aunt. Playing on the beach, I suddenly remembered two sudden gunshots, which made my heart skip a beat. Immediately afterwards, Sullivan, who had a lot of blood on his chest, fell to the ground, and only then did he see a blurred shadow slowly getting up from the corner behind Sullivan - one of the most exciting scenes in the film. This black shadow's unhurried and relaxed attitude just echoes the first half of his appearance when he first appeared. The few bloody scenes in the whole film are all related to him. When he first appeared, in order to show his character, now It was telling the audience that Sullivan would never get up again.
View more about Road to Perdition reviews
