The film was filmed in Vienna after the war. An American writer went to Vienna to visit a friend he had not seen for many years, but when he arrived, he learned that his friend had died in a car accident. As soon as he visited his dead friend's friend before his death, they all appeared at the scene of the accident almost at the same time. Later, he became his friend's girlfriend, a comedian. At the same time, the police were also investigating the matter, and the writer himself became a "private investigator".
detective", but many people seem to drive him away, and the story unfolds. . . . .
The most powerful part of the film is the setting of the scene. Vienna is almost in ruins, but there are romantic streets, fountains, sculptures, old theaters, almost abandoned playgrounds, and sewers where you can escape. The scenery is simply too romantic. . The place that appears the most is the small square where the car accident happened. The director shot it from various perspectives, the street during the day, the street at night, inside the window of the apartment building, in front of the small newsstand (also an underground pipe entrance), and a small coffee shop. . . Wait.
Lighting is also extremely particular, and many suspense are directly using lights, shadows, and hidden dark places, which simply prohibit the promotion of emotions in black and white movies.
It is also worth mentioning that the film is an English film, but many of the characters' dialogues are in German, but there is no English translation, causing a lot of suspense. My friend said that it would be great to know German, but another said that the director is just to make everyone feel suspenseful.
After watching the movie, I didn't read any information, and I don't know what the director's background is, but he must be particularly interested in architecture and the ruins after the war. There are nostalgic shots of him everywhere, like the writer and the round-faced little boy several times. The bombed-out steps you walked down, such as the dilapidated walls of the apartment where the actress lived almost collapsed, and the almost abandoned playground, although the big turntable still worked, the merry-go-round didn't turn, another shot of the film It was a few children pushing the Trojan horse with their hands. . . .
The final chase scene in the underground pipeline, without cars and without computer animation, is as fast and dazzling as a Hollywood blockbuster, but as tense as it is. But what Hollywood can’t match, or what Hollywood is learning, is that the storyline is driven almost entirely by the architecture, the “opportunity” of the scene, (such as how the fleeing people use the steps, the river, the wall, the landslide, the small Tao, etc.), and almost every shot is
full of beauty, especially reflecting the director's special nostalgia.
The ending is also particularly charming. The last scene should be enduring. On the basis of no spoilers, let’s say that the film is not actually an action film, but a film about love, loyalty and architecture.
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