Although I haven't read the original, Finch's version is very much in line with the original. Many of the empty shots are highly consistent with this angle, but the Finch version has a faster editing rhythm, but in terms of the composition of the scenery, they all belong to the style I like. Then there is the casting of actors (sometimes there is an illusion of watching the same version), including supporting roles, as well as some of the actors' lines, btw the heroine still loves Malala more.
In this film, the memory of Heilit is more historical, and the sense of plot substitution is stronger than that of the Finch version. It is faster to enter the plot, and the foreshadowing is more concise.
Finch's version of Boss Fan is more rational, this version is more emotional, his feelings for Heilit (the combination of Hailey + Harriet) are heavier, and the foreshadowing is more in place. The details of the engraved tattoo show the silent expression of the heart. The male protagonist expresses more delicate emotions towards the female protagonist, not as ruthless as in Finch's version.
The detective part is like Shenxia, and the lines in the plot part are a bit like a letter from a strange woman. The connection between the different story points is very smooth and logical. The presentation of criminals is in place, showing both good and evil. Although there are hateful things, there is also a good heart, full of humanistic care, and the lines when confessing is really very necessary to enrich the film. Well, bad guys also need it Intricately outlined. Good and evil will be rewarded in the end, and the heroine this time can be regarded as making up for her past childhood.
In the end, the part of looking for Heilit was a little bit Chinese. Helite's story was not satisfactory, and Finch's version handled it more skillfully, but the addition of the listener, Boss Fan, in the story was more able to show the emotional connection between the two. And Liz's going to see mom is better than Finch's version of seeing dad. In Finch's version, he just explained burns instead of burning dad, which strengthens the delicate relationship between mother-daughter and father-daughter and between parents. In fact, Op's version is quite compact, not fast-paced, because the narrative between the story points is not so dense, and the ending is a bit scribbled and omitted some things, weakening the emotional part of the heroine. A knight and a female spy doesn't feel like a sleight of hand. Maybe Finch is trying to reverse the emotional balance between the male and female protagonists. Maybe he thinks it would be more appropriate to deal with it even if they are not together?
Finally, Finch is more suitable for showing the dark side of human nature and the dramatic presentation of the overall plot, while Op is more suitable for showing the gentle side of human nature and the relationship between people. If I had to choose one of the two, I would still vote for Finch out of love for him (it may also be a preconceived notion), of course, the Opel version is not bad.
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