followed it on the 14-inch screen for the first time, and some details were not made. Qing, but there are several shots that are very impressive (two of them: the IBBC lawyer took the Mafia car into the cave tunnel, the camera followed the car's scheduled route outside the cave at 90 degrees for 3 seconds to the cave exit, there was no car Drive out, the camera continues to walk along the driving route and gradually zooms to a large panorama...Cote Azzure at 5:30PM....; The scenery is beautiful, the idea is very clever, and the atmosphere is great; there is one at the end of the film, Salinger He raised his head slightly, his eyes were frustrated and blank, the camera was pulled back slightly, and the face of the protagonist was drowned in the sunlight behind him). The director and cameraman's handling of the car cave scene makes people secretly amazed, and it can also be regarded as a portrayal of the whole film: clean, restrained and subtle. The sunlight in the closing shot is reminiscent of the final scene of French Connection. After watching it, I immediately searched for the film's information. It turned out that the director Tom Tywker was filming "Sprint Rolla"... I don't know the pig... The
second time I bought the disc and watched it on TV, I thought it was worthy of this film. Movie. After the second pass, the story is clarified; scenes such as the shootout at the Guggenheim, the dialogue between Wyhan and Salinger are also revisited, and the performances of the characters are also carefully reviewed. I feel that the performances of several main characters and even some supporting characters are in place: natural, vivid and not rigid; even the two New York police officers who have few roles in the second half or even the killer in the art museum. There is really nothing wrong with the whole film. I read some comments and said that the whole film is not very bright, but I feel that this is obviously the director's intention: restraint and precision, even the most climax of the art museum shootout does not show any slow-motion close-up, and the actors are not as exaggerated as 007. He has a strong hand, and achieves a tense effect and a unified style of the whole film only by the movement and combination of the camera lens. In fact, this kind of treatment is not inferior to 007, Wu Yusen and his ilk, but it seems to be a lot more clever.
The third time I read the director's comments, many details were explained. At the time of the cave, Tywker said that he particularly liked the idea, he chose a short cave and used that metaphorical shot; the screenwriter next to him teased a little: Well, the scenery is good.... And in the sunny part at the end, they Talking about French Connection and its protagonist Popeye Doyle, I thought of the ending of the two films and the similarities between Salinger and Doyle. Presumably the ending scene was also inspired by FC. The director also specifically mentioned that the Guggenheim in the film was specially built by the behind-the-scenes team with a lot of time and effort. This 13-minute shootout took 6 weeks to shoot, during which it was still in the real Guggenheim. I filmed for a few days. Such careful devotion and preparation also just reflects the "restraint" and "not brilliant" lens language used by Tywker in this shootout, which is by no means a perfunctory child's play.
The fourth time I watched it with my dad, and I don't think I'd ever watch more than 5 DVDs with him, or even less. Most of the time he just walks away with no interest in the movie soon after it starts. And this time, the suspense was set in the beginning, and when Salinger and Calvini met, he deserted and walked away; I was also worried that he would not be able to keep watching. And when the sniping scene appeared, he was completely drawn into the plot of the film. When he got to New York, he had already begun to take the initiative to guess where the film was going. And he also watched the wonderful conversation between Weihan and Salinger's secret room. At the end of the film, he did not forget to say: It's beautiful! From this point of view, even at the most basic narrative level, it can make a middle-aged audience who has no interest in today’s movies and whose viewing experience is still stuck in Harrison’s Death Squad and Yugoslav movies so engaged, this film can be regarded as a very interesting film. It worked.
It's not impossible for tom tywker to shoot the ingeniousness of Bourne's identity, the invincibility of 007 or the shot of flying pigeons in slow motion. Original, and it seems to be common as many people say: not brilliant. But it is this seemingly bland expression that best reflects the skills of the director, screenwriter and cameraman. Tywker said in the comments that he was influenced by earlier European films and film noir, so this film is a kind of return in style, and it can also be said to be a kind of progress in the current era of special effects.
In addition, perhaps we should talk about the theme of this film. To paraphrase a comment commonly used in Jia Zhangke's films, it is simply "full of references to the current reality and humanistic care"; but I would like to compare "24 Cities" or the previous "24 Cities" The Three Gorges Good Man" and "The Transnational Bank" are neither literary nor realistic, but they have a considerable depth of reference and concern throughout. Even I think Tywker's dramatic interpretation is not inferior to Jia Zhangke's realistic expression. Because according to Debord's statement, the world has long since become a spectacle; and the current spectacle is incomparably crazy, far beyond a dream, so for themes like banking and finance, the interpretation is more realistic. Nothing can't be done. The audience of the Big Four or investment banks should experience this.
Tywker said they considered giving up the Guggenheim and chose to shoot the shootout in another public space due to financial pressures. Luckily it ended up being a Guggenheim scene because I think the film deserves a Guggenheim and vice versa!
A contemporary film deserves a contemporary museum and a contemporary audience. Think again~
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