The actor, Viggo Mortensen, is known to have played the king in The Lord of the Rings. There is indeed a boss style. Calm to ruthless, calm to expressionless, alert and well-mannered, and a little bit of human brilliance. More masculine and more complicated than Liang Chaowei in Infernal Affairs. Naturally, he looks like an undercover agent who has broken into the highest level of the gang. ——And at the end, he sat coldly on the dark red luxurious low-key sofa, fiddling with the bracelet indifferently and thoughtfully-tossing it over, tossing it, the bracelet strung with something like a square Buddha bead sent out a strong sense of rhythm. Click, click, click, just like he did when he was tattooed naked in only one pair of underwear. Calm and hollow click, you can't tell that his flesh is being scorched by little drills (tattoos). In the calm and empty click, you don't know whether he is undercover or a gangster, sitting in the position of the godfather.
The bathroom fight scene was really violent and really aesthetic. His muscular body, covered with cyan crosses, stars, and other sinful patterns, was tossing naked between the two black strong men. Every punch slammed into the bone, and every knife slashed his skin sharply. There was no slow motion. , there is no close-up, it is a realistic bloody fight. It's not Jackie Chan-style banter, or the poetic churning of The Matrix, or the heroism of any Hong Kong gangster movie. It is a realism to the extreme and rise to aesthetics. Blood is thick dark blood. The wound is a knife after knife and knife cut through the front chest, back and arms.
The rhythm of the whole film is tight and smooth. It is not the plot that oppresses you, but the coldness and darkness that shroud the whole film. Just as there is only one weapon used throughout, the knife. Razor, machete. Coldly glowing metallic light. There is unspoken dignity and a sense of oppression.
And the heroine who appears as a contrasting bright color seems to be a little overpowered. Under the shroud of a bunch of gangster men, it seems brave and a little paranoid, not smart enough, and not beautiful enough. (So her love with the male protagonist also seems to be the embellishment. The male protagonist’s character is a shallow footnote.) However, in the penultimate scene, she with messy hair, holding a pink baby, stood like a flagpole and abandoned the corpse in London In the commonly used dark water alley, facing the muddy yellow river, the camera gradually zooms away. Quite symbolic, the symbolic meaning of formalism.
At the end, there is a contrast between the warm home scene and the gangster godfather scene. I finally still didn't understand, is this male protagonist an undercover agent? (It should be.. But the goal of this undercover agent seems to be not only to solve the case, but to sit on the throne of the godfather of the Russian gangster in London. Of course, it is understandable that people have higher undercover goals, such as sweeping the net. Or, the director buried the grass snake Gray line, let's talk about the sequel.)
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