1. Street people and their secret words: Tyrannosaur's
title Tyrannosaur comes from the actor's mockery of his deceased wife (the actor will lose control of his emotions when he hears Tyrannosaur). In real European and American countries, these kinds of diseases generally occur in social members with lower social status. It can be seen that imagine the poor and rude family environment in which the actor lived before his wife died, and the friends of the actor are also typical of "street people". The representative of the male protagonist in the bar uses the slogan of being a Celtic (primitiveness) as the male protagonist, and his words are mixed with TV column slang (at the end of the communication frame, controlled by the mass media), and there is a typical image that is It's the little boy next door, and every line of his is full of street humor. Whether it's a dilemma, embarrassment or danger, he can tease him without haste, just like the actor's mockery of his wife, Tyrannosaur, It is only in the context of street culture that insulting one's wife directly and casually will not appear abrupt. Behind this humorous insult requires recognition of rudeness, disobedience to etiquette, and the innate sense of humor of the bottom people, but most importantly The core is the human touch behind this, and it is this point that makes them distinct from the "mansion people".
In fact, the story begins five years after the death of the hero's wife, and at the same time the hero's last best friend dies soon. The hero is living in the intersection of a passing old world and a new world that is not ready to face. Here, Tyrannosaur got him emotional because the word came from his memories of the old world, where he mocked his wife and did evil with his best friends. But in the current situation, he didn't know how to choose, so he instinctively continued to do evil until he met a heroine who was passionate about faith.
2. Mansion people and beliefs
call Hannah and her husband "mansion people" because almost all their communication takes place in a dark room, and they live in a different place than street people (the male protagonist can be on the lawn They communicated with the neighbors on the balcony of the opposite door), completely unable to spy from the outside, and that is why each of them was perverted and darkened, even though their residence was "five rooms, two garages, manicured lawns. ”, but their lives with each other remain polite and completely hidden, in other words, the people in the mansion do not have the primitive humanity of the people on the street. The symbol most closely related to the people in the mansion, that is, the faith of the heroine and her husband in the film. In the analysis of the scene about the second meeting of the hero and heroine above, it was mentioned that although the creator showed the crisis of believers, But the crisis does not come from the belief itself, but from the mistakes of the believers themselves, such as the female protagonist’s own lies that trap her in a happy family, the cowardice of fear of piercing her own lies, causing her to suffer, drinking, etc. Therefore, When the heroine threw something at the photo of Jesus, Jesus was not a feudal symbol rebelled by believers, but a saint of misunderstood faith, which was what the creator believed in his heart.
3. Explicit text and implicit text
in the film It is not difficult to see from the above plot and character descriptions that there are dual texts under the influence of the creator in the film, one is the explicit text: the old friend of the frustrated street man soon In this world, he realized that he was facing the passing of his old life. He sought the rescue and support of others, and found a smiling and seemingly kind-hearted female clerk. In the back and forth communication, the man seemed to have found a flawed but tolerable new one. Life, only to learn that the heroine has murdered her husband, despite this, he still chooses to forgive her and wait for her to be released from prison to live a new life with him.
But under this layer of text, there are obvious traces of the creator's own ideology, that is, the implicit text that the film has pointed out above: the heroine's religious redemptive gesture at the beginning of the film makes the confused male The protagonist has a great feeling, which makes him intend to give up his old life and move towards a new life of salvation. At this time, the heroine and the creator stand on the same front of religion (the heroine prays at night → the protagonist does not have a dog. people), but then the film shows that the heroine is not a so-called representative of the faith by showing the heroine’s behavior of drinking, cowardly, lying, and murdering against her religious posture, but the creator’s view of the faith does not change with the heroine And the change - the heroine has become a false believer, and the salvation of the faith that the hero seeks in his heart does not exist. Therefore, his abandonment of the old life in the past is unreasonable, and the hero and heroine have not been able to truly walk out of their respective After the heroine gets angry with the hero and asks him to leave, she has lost the aura of a believer, and gradually unfolds the real picture of her hypocritical life. In fact, like the hero, she is an unbeliever who seeks salvation. This text embodies the creator's ideology of religious belief, and this ideological inclination directly leads him to not attribute the heroine's behavior at all to religion but only to the heroine's behavior.
In general, the director himself narrates the story from the perspective of faith. It is a process of a victim seeking the power of faith. The director does not intend to discuss the crisis of faith being challenged, but to discuss the crisis of unbelievers. In this context, the director arbitrarily covers up the unresolved crisis of the two unbelievers with a kind plot, which is the proof of the ideology of faith.
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