"No Entry" is directed by Swedish director Thomas Alfredson. It tells the story of the relationship between Oscar, a 12-year-old boy who grew up in a single-parent family and was bullied at school, and his vampire neighbor, Ellie, who is the same age. . The film was widely acclaimed as soon as it came out and won more than 70 international awards. The status of film history has gradually risen as time goes by (the heavyweight list selected includes the "Empire" film history 100 best non-English films, "Time Out" Selected movies and historical romance/horror films Top 100, etc.). This article will try to reveal the reason why the film is so deeply rooted through the analysis of the overall style of the film, the details of the audiovisual language and the deep meaning structure of the text. 1. The overall style of Jane Sanqiushu's "No One Who Lives" can be summed up in four words: "Jian", "Slow", "Quiet" and "Cold". The director has always been committed to subtraction. Johan Söderqvist's soundtrack has maintained a light and sad tone for most of the time. It is as slow as the film's narrative but full of stamina, like a snowball wrapped in flames. Slowly flowing piano music, slow-paced string solo and melancholic pipe music alternately appear, enough to make the desolate and lonely emotions stagnate to the deepest corners of the soul. As for traditional commercial thriller/horror films, the soundtrack for the purpose of accumulating suspense or frightening is basically absent.
You can't find any unstable camera movement (such as hand-held lens shaking) and sudden, jumping editing. The camera is either still, or shaking slowly and smoothly, the transition is clean and neat, and there is no fancy tricks such as dissolving, fading in and out, matching editing, etc. The multiple shallow depth-of-field lenses and the corresponding shifting processing seem to cover part of the environment in the picture with a thin layer of veil, which makes the film more and more isolated. In addition, a few shots shot through the window and the recurring mirror-backlighting dispatching also secretly burst into the hazy beauty of light clouds and smoky smoke.
The use of long-distance lenses also demonstrates the implicit and cold style of the film: in the scene where Ellie disguised as a helpless child to trap passers-by, not only did the camera always maintain a fixed position in the distant view, but the two people under the bridge in the screen were only in silhouette. The form is presented; the second time when Oscar is bullied by a child, the long-term shot slowly pans to the right, and the details in the deep space spread out like a scroll painting, including the teacher in the left window of the screen (reflecting the rampant violence in the school) ), the members of the Youth Gang who quietly followed up behind the snowdrifts, etc.; in the fixed vision, Allie had a vomiting reaction after eating sweets. Oscar was watching with concern and no guilt, 2/3 of the space on the right of the screen There are no characters or actions in the composition, which becomes "blank" in a certain composition; Håkan's last "hunting" was frustrated, and the edge of the camera (picture frame) and the wall together trapped him in a small corner, right On the side, the victim hung upside down and his companion who is about to hit the door, form a subtle "split screen inside the picture" effect; the fixed perspective lens outside the hospital building slightly tests the audience's observation ability, dormant Ellie on the exterior wall of the third floor (in the background) needs a certain reaction time to attract attention.
The director's practice of the narrative of the space outside the painting also highlights the simple style of the film's "full of words and endless meaning". Allie’s debut was when Oscar tried his knife against a tree trunk to complete his imaginary revenge. The camera slowly swayed to the right with Oscar’s sight, and we discovered that Allie was already standing on an empty iron frame. Above, and the passage where the two met for the first time was shot by a long lens that lasted 1 minute and 51 seconds. When Huokang returned to the apartment empty-handed and was reprimanded and scolded by Ellie, the screen showed a close-up of Huokang. Ellie outside the frame did not show up. Her danger was almost purely due to her breathing. The voice, the rough tone-shifted voice, and Per Ragnar (the actor playing Huo Kang) trembling and walking on thin ice appeared. Ellie’s ability to transform (this is also a precise deletion during the adaptation: the original novel took a long time to explain that Ellie’s fangs, claws, and even wings need "willpower to be concentrated here" to change) This is implied by the whistling sound that stirs the air when Ellie leaves the hospital window (from inside to outside the painting).
The most acclaimed scene in this film-the pool slaughter scene is the ultimate use of the space outside the painting: the camera is underwater, the camera is fixed, and Oscar's face is close-up. The first thing that comes is that Ellie hits the window of the swimming pool. There was a loud noise, followed by an abnormal sound that was blocked by the pool water and was difficult to identify. Suddenly, a calf wearing shoes passed in front of Oscar. In the background, the legs that were still swinging after being thrown into the water and were dismembered gradually appeared in the background. Then, accompanied by the weird sound effect like the parts of a machine slipping off, the hand holding Oscar’s head turned into a broken arm and sank into the water. Finally, one hand lifted Oscar out of the water, and the long shot was finished. Allie and Oscar smiled and faced each other, and when the director gave a panoramic view of the swimming pool, we finally understood the plot of the killing that took place off the screen just now. Making good use of the space narrative outside the picture not only avoids the direct shooting or special effects of many difficult scenes, but also forces the audience to mobilize the auditory and logical thinking abilities, so that the actions that are not directly presented on the screen obtain a different kind of reality feel.
The process of adapting the film's drama is exactly the textual level of deleting the complex and simplifying it. The biggest change comes from the so-called "heavy taste" plot. The film deletes all scenes related to pedophiles in the novel, and the bloody scenes of Ellie hunting have also been cut to a certain extent. In this way, the director was able to use the largest length to construct the "Love Story of Ellie and Oscar", and the film successfully detached itself from the clichés of sexual inverted spectacle and crazy blood plasma. In the original work, Ellie’s resting place is a bathtub filled with blood (the author thinks that sleeping in a coffin is more unpleasant), while in the movie version, the blood is removed and the "bed" is replaced in the two shots (before and after the separation). "Allie on the top appeared to sleep peacefully. The third and fourth changes are the deletion of the battle between Lacke and Virginia in the hospital ward (Virginia turned into a vampire has the ability to tear up Lack, but tried to restrain the impulse). Reduction, and omitting more actions after Oscar’s father received the drinker. According to the description in the original book, Ellie's mind is also trapped at the age of 12. She needs to sleep for a long time every day, and when she wakes up, she has forgotten almost all the newly learned experience. In other words, although she retains the memories of the past, she has never really grown up-she is not a 200-year-old man in a 12-year-old shell, but a 12-year-old who has lived a long, long time. In other words, she is a life living in the present. In the movie version, Ellie’s life experience and basic information should be omitted, and the history of the blood collector Huokang is deleted according to the gourd (in fact, he was only taken away by Ellie about a year ago) . The simplification of this series greatly increases the ambiguity of the film (the author himself is quite satisfied with this), and even induces some viewers to interpret this beautiful love fairy tale as a black fable of constant rebirth and rebirth. In addition, Ellie’s difficult to identify identity keeps her hidden in an inexplicable shadow, shrouded in an elusive and mysterious halo, and has become a fascinating and sultry object of exploration in the so-called "love psychology." At the same time, out of faint worries and fears (on the surface, this is a horror film), the audience will be fully absorbed into the world of the film.
Of course, the movie version also has a new plot, which is the sixth change to the novel. Oscar asked Allie to eat sweets. Compared with the utter rejection in the original work, Allie hesitated again and again after declining, but still ate human food that she could not endure. This behavior then constitutes Ellie’s first sacrifice in the text, and at the same time it becomes a sign that Ellie has begun to gradually reveal her (secret) to Oscar. Echoing it was Ellie's second and life-threatening act of sacrifice. Oscar has a mischievous mentality and refuses to say "You can come in." Allie enters Oscar's room uninvited, so that the seven orifices bleed. This is a precious passage in the history of vampire movies. The director once racked his brains and was unable to achieve the desired effect. In the end, he "made a subtraction" and deleted the original exaggerated special effects and sound effects, so the scene where Allie bleeds. Tend to be quiet and gain a sense of reality closer to reality. At this point, we can make a general summary of the film’s adaptation strategy: dare to cut drastically to highlight the key points (love stories), with primary and secondary distinctions; remove redundant bloody passages and side-line character actions to fit the overall cold and cold Fresh tone; creating ambiguous ambiguity, increasing the interpretation space and the interest of watching movies. This is the overall image style and adaptation strategy of "Don't Go In". There is no audiovisual bombing of sensory entertainment, no fierce and fancy sound and image spectacle, no magical gothic clichés, no sensational love, hatred and vengeance. , There is no bloody sadomasochism. Instead, it is a vampire film with different vulgarities and implicit borrowings, an image saturated with cold, quiet, lonely, and simplistic flavors. two. It took about 4 years before the director Thomas Alfredson succeeded in visualizing the film "Don’t Go In". The film is not a pretending posture and a style of innovation, but a novel. There is something in the words, the details are exquisite, and the feelings are sincere. The time background of the story is set in Sweden in the early 1980s-an era where "no social media, no chaotic words to dilute the sense of loneliness" (3). The film not only tried to restore the style of this era in clothing, furniture, electrical appliances, and scene design, but also faithfully reproduced details such as posters, hairstyles, and living habits (such as sweaters tucked in jeans). In the opening paragraph, the scene where the police came to the school for crime prevention and anti-drug education was also an indispensable episode in the life of the Swedish teenagers at that time. In addition, many radio broadcasts used as the background sound source in the film once mentioned the death of the former Soviet leader Brezhnev. This is directly related to the reality of the culture and interpretation code, and the specific time of the story Specified as November 1982.
Part of the emotional power of the film is cleverly woven into small and vivid scenes. Although these scenes are fictitious, they are taken from life, such as Oscar's hair stroke on the mirror (in the depth of the screen), and when Oscar goes out early in the morning and accidentally glimpses the restored Rubik's Cube, that touch is pure and contagious. Smile (also the first smile in the film). This Rubik's Cube has also become the bridge between Oscar and Ellie for the first time to successfully communicate-the vampire is in the endless river of time, naturally interested in complex intellectual games, to pass the time. The spliced Faberge eggs that Oscar saw in Ellie’s private room at the back of the film also hinted at Ellie’s way of killing time. Another interesting detail is the clumsy movements of the blood-collector Huokang during the killing and the almost cartoon-like nervous posture-the director even called him "the crappiest killer in film history." There is a paradoxical dual role hidden here: it implies that Hockang is not the long-time partner (a familiar old killer) or "another Oscar" with Ellie, and at the same time secretly arouses the audience's sympathy for the killer. Because if he were Ellie's true lover, it meant that his hands were stained with the blood of thousands of people and would not deserve sympathy. If Huo Kang acts as Ellie's "temporary lover", it will also make Ellie no longer worthy of sympathy. Of course, the reason for this contradiction still stems from the ambiguous nature of the film, that is, the lack of information as mentioned above.
After the unexpected drinkers invaded the private space between father and son, Oscar's eyes looking at his father were heartbreaking. The sorrow and helplessness after being abandoned was enough to resonate with audiences who grew up in single-parent families. . Immediately, the camera switched to a note written to him by Ellie (a notice of escape). Thus, this set of shots marked the turning point in the narrative, that is, when Oscar's relationship with the people around him changed from close to close. Earlier, the relationship between Oscar and Ellie fell to the freezing point due to the "spilling blood accident". Playing games at the (divorced) father's house once became the extreme point of the closeness, but the hope was finally shattered, and Oscar immediately ran out of his father's Hut, then fled his mother, betrayed the school (classmates), and finally chose to embark on an escape journey with Ellie.
Due to the limitation of space and personal ability, I cannot analyze the performances of the actors in detail, but I still have to admire the performances of a few small actors. Their contribution to the film is incalculable. Lena Lindelson, who played Ellie, and Kyle Hedbront, who played Oscar, were selected from thousands of candidates, and this casting also made the original author very satisfied. By the way, Ellie has revealed the "prototype" four times in the film. They were grunting in the belly after discussing the Rubik's Cube with Oscar for the first time, and the "blood licking accident" (the moment when he grew old after sucking blood, it seemed to indicate Between humans and monsters, the timeliness that was already detached reappeared), climbing trees, and asking Oscar for empathy. Except for the tree-climbing section, the other three faces are starred by other actors. For details, please refer to the film’s credits. In terms of sound processing, the film is also meticulous. In fact, the subtlety and richness of movie sound often make the language of the lens beyond the reach of the lens, “sound may ask countless questions, but the camera always gives only one answer: here” (4). Among the innumerable profound psychological mechanisms of movie sound acting on people, there is an inverted principle: the sounds in the real life of life often appear unreal, or lack persuasiveness; the carefully virtualized sound may evoke the ultimate reality. feel. For example, the snowfall in the real environment is silent, but there is a sound of snow stored in our minds. The method of making the sound of falling snow in the prologue of this film is to mix the small air bubbles in the amplified mineral water (after deceleration) with the collision sound of sugar falling onto a hard surface (such as a marble tabletop) to produce a sound Extremely realistic "snowfall sound". When Huokang killed someone for the first time in the film, he slowly hung the victim upside down in the woods. We can clearly hear the gradual collision and displacement of the contents of the corpse pocket. This is another unique feature of the film. Excellent sound design. One of Alfredson's favorite passages is the "bed scene" between Ellie and Oscar, where the complexity and subtlety of sound editing is fully reflected here. In such a quiet environment, the real (false) degree of sound will be multiplied. The sound of breathing, the low and rapid heartbeat, the soft noise of the tongue moving in (own) mouth, the rubbing of the skin and bedsheets... everything is clearly identifiable. According to the author’s point of view, this paragraph interprets the essence of pure love (the essence of pure love) most precisely. love). In the original book, it was at this moment that Oscar realized that Ellie was probably a vampire, not even a girl, but as his answer indicated, he didn’t care about it (it’s easy to think of Billy White "Nobody is perfect" in German "Enthusiasm as Fire"). With the "bed scene", the "kiss scene" is naturally indispensable: Ellie killed Luck at Oscar's reminder, her lips were soaked with blood, after thanking her, she had to reiterate her determination to escape and kissed Oscar on the initiative—— Another sincere moment.
The director's processing methods for some details also reveal insights from time to time. They are more or less a transcendence of traditional film language conventions and conventions. The framing of Ellie and Oscar's hands is impressive. When Ellie advised Oscar to rebel against the King of the Children, the two bodies touched each other for the first time. A metaphor of ); In the "bed scene", Ellie agreed to Oscar’s request to "confirm the relationship". Her left finger touched Oscar’s neck and slowly swiped it. , Gradually moved from the shoulders to the elbows and wrists, until they overlapped with Oscar’s left hand; after Oscar broke with his father, he knocked on the door of Ellie’s house, but was locked by Ellie outside the door leading to the living room. Human hands can only "touch" each other through the door. This is a time for temptation and a time for Allie to confess her identity. In these three cases, the touch of the hands of the two refers to the closeness and distancing of the emotional relationship between the two. In addition, as the director said, human hand movements are more subconscious and difficult to lie. They are not limited to children. Hands of different ages can reflect touching and sincere power under the observation of the camera. .
Several lighting in the film are also quite innovative. In the scene where Oscar is being bullied by children in the snow next to the school, the light in the snow presents a texture similar to moonlight. The light is projected from a high place with almost no shadows, and it is impossible to distinguish the direction of the light source. The director used this particularly softened and soft lighting to replace the hard light (high contrast, enhanced light and dark contrast, and prominent shadows) that are usually used to enhance the drama and rendering tension in similar film scenes. When Oscar ran away from his father’s house overnight and wanted to hitchhike, the lights of a car coming from a distance (in the depth of the picture) became the only light source. This bold attempt finally received the same effect: the scarcity of light sources was both. It implies the isolation of Oscar's father, and also reflects the loneliness of Oscar. Making good use of delay can arouse the appetite of the audience, and make the story turn around in the process of leading to the ending. In the early morning after "spending a good night" with Ellie, Oscar saw an extra piece of paper written by Ellie in the bedroom, but this piece of paper was only presented as a close-up shot on the right side, making it difficult for the audience to accurately and completely identify Handwriting. The suspense of this special setting was delayed for nearly 17 minutes before it was completely revealed (the position is as described above)-"To flee is life. To linger, death." (I think it is best to keep the English translation).
The director laid out two false endings in the second half of the film. The first is at 1 hour, 40 minutes and 10 seconds, there is almost exactly the same picture as the film title (behind the lens of snow in the night sky)-the lens is facing the window, the scenery outside the window is blurred, and a little halo is dotted on this Above the dim picture, the glass shows Oscar's naked upper body with blur and ghosting. He is pressing his right hand on the window glass and staring blankly into the distance. This is a lens that successfully visualizes the endless sense of loneliness. The darkness in the room is in sharp contrast with the indistinct light outside the window. Oscar seems to be imprisoned in a dark cage, staring at his image in the mirror (glass). Silently endured the assault of loneliness. In the passage before the appearance of this scene that almost constitutes the so-called "front and end echo", Oscar closes the door in front of his mother, people go to the empty (Ellie's) room, sad and escalating theme soundtrack, Oscar Looking at the newspaper article ("A man drowning under the ice") implies a possibility-even if this is not an Oscar-the fantasy of an autistic teenager should be the end of the film-an end-to-end loop An unsolvable puzzle. The long shot (Oscar staring at the window, tearing, and dripping nose) behind the pseudo-end is the director’s deliberate delay and preparation for the beginning of a new chapter. The phone bell then tore through the continuous background music, and the plot was pushed forward again. The subsequent revenge scene ended with a panoramic shot of the swimming pool, which was suddenly cut into a pure black scene, copying the real opening of the film as it was-the scene of gradually fading from the dark scene to the snow in the night sky, which is the second pseudo ending. After a delay of about 32 seconds, the genuine ending will appear. 3. Eternal loneliness and salvation
Oscar finally chose to embark on a journey of exile with Ellie, rushing to the path full of danger and romance. Once again, the film outlines the prospect of the two with only one long lens. The lens is gradually pushed forward in the train compartment, slowly swaying to the right, and slowly descending, revealing Oscar and his "luggage". The interior of the car is empty and lonely, and it seems to be a metaphor for Ellie and Oscar's self-exile from human society. But on this narrow road far away from people, the two will no longer be alone. As shown in the first half of the film, even at night, there is an insurmountable wall between Oscar and Allie. At this moment, even though they were exposed to the light of day, there was only a trunk cover between the two, and the Morse code, which was skillfully mastered, became the transparent glue that bridged this tiny gap. With the film’s unclear handling of the ambiguity of Ellie’s past history, the ending is portable and ambiguous-is it an immortal and touching love legend, or is it the continuation of eternal loneliness and the repeated cycle of deception/tragedy? Because of the openness of the text, everyone can choose their own interpretation. So far, in the dimension of audiovisual language, we have basically completed the analysis of the whole and detail of the film. Here we will turn to the tentative discussion of the film's textual representation and its deep meaning structure. In fact, the film has made a balanced response to all aspects of the enduring cultural motivation and psychological mechanism of the vampire mythology, and provided a quite complete imaginative solution. First of all, this story is a recurrence of the revenge motif. "No Entry" is a semi-autobiographical novel written by John Ajvide Lindqvist (also a movie screenwriter). Many scenarios in the book (such as pants like being thrown away) The embarrassment to the urinal and the psychological state are all personally experienced by the author. Lundwest once told himself that his biggest motivation for writing was the revenge of the swimming pool. The achievement of revenge has become a major way for film authors and audiences to obtain emotional vent and imaginative comfort. The structure of the story contains two revenges-Oscar's revenge for the perpetrator of school violence in the main line (achieved with the help of Ellie) and the revenge of Luck against Ellie in the secondary line. The adaptation of the movie version greatly weakened the secondary line, and greatly cut the life and emotional descriptions of Luck and those around him, which made it difficult for the viewers to strongly agree with him. The "legitimacy" of Luck’s revenge (exactly Allie reduced him to a miserable situation with nothing) and was submerged under the main line, reduced to an embellishment that is difficult to leave a mark.
"No Entry" is also a story about salvation. As the director said, the film restores the secret childhood desires of many people into immersive visions. If you have been introverted, withdrawn, inferior, and in an Oscar situation, you will naturally yearn for a close friend and savior to come down from the sky. This is a dreamlike attraction for this film. Not only that, but the film also presents Ellie as a subject and a savior (see Greymas's motive model: subject/object, sender/receiver, adversary/helper (5)). In the narrative, Ellie simultaneously plays the role of the sender, subject and receiver of the rescue operation (of course, the receiver also includes Oscar), which is a typical individualistic hero image in modern stories. But it is Ellie's gender that makes it contrary to tradition. Some viewers did not notice the suggestive scene (Ellie’s lower body) given in the film. Allie then became a female savior and a female hero, violating the unspoken rules of traditional commercial movies (women can only act as objects and become males). The hero's salvation object). Ellie actually plays an asexual person, that is, a castrated male. As we all know, in the mainstream society, gay men are always referred to as "castrated men". Compared with women and men, their disadvantaged position is even worse than that of women. Oscar is a relatively withdrawn, but still "normal" boy. The film thus achieves the subversion of the gender order that many contemporary radical movies have not touched-asexuals complete self-salvation, and rescue and "anti-recruit" men. "Don't Go In" especially observes and experiences the core of vampire legend-the eternal loneliness and drift of vampires. This situation is first reflected in the loneliness of being an alien. In film and literary works, the image of vampire has gradually been "humanized" from an absolutely evil demon, and has become a symbol of marginalized people or aliens in mainstream human society. Some people say that the pervasive sense of loneliness and the process of searching in the novel "Interview with the Vampire" (also in the 1994 movie version) is precisely the situation of marginalized people in mainstream culture (6). The self-proclaimed author, when trapped in the web of loneliness and the abyss of separation, suddenly thought that perhaps only an eternal and lonely alien like a vampire can truly understand my psychological state. After all, the identity of the different and the different is rooted in the feelings of sympathy and sympathy for the same disease.
But the film is aimed at the general public. How can it be recognized by the majority of the audience? The author's strategy is to highlight the kindness, innocence, and purity of the alien. Compared to the viewers, although Oscar is weak and self-deceiving, he is still a member of the human race, while the vampire Ellie is obviously closer to the alien. In the novel, Ellie has the appearance and mind that will always be 12 years old, which makes it difficult for her to learn the sinisterness and hypocrisy of the adult world. In contrast, the only kind adult in the story is a physical education teacher. He knows the plight of Oscar's oppression and encourages him to work hard. In order to promote and express friendship, Oscar proposed to cut his finger and mix the blood of the two. This scene is really an ingenious design. It makes Oscar stupefied to touch Ellie’s true identity for the first time. It also highlights the fierce conflict between Ellie’s emotions and the blood-sucking instinct. Allie only licked the blood dripping on the ground. Running away, her love for Oscar actually defeated her survival instinct. When Allie had to trap the "prey" herself, the film showed a picture of Allie lowering her head to confess herself (Prior to this, Allie broke the victim's neck to prevent creating a new vampire)—— Allie is very tired of this, full of exhaustion and self-blame. After the “second act of sacrifice,” Allie even directly broke Oscar’s desire for revenge. After putting forward the admonition of “kill less and kill carefully,” she asked Oscar to think about it (I do it because I have to . Be me, for a little while... I have no choice but to kill, please put yourself in my place for a while...). This hurtful and helpless confession completely transformed Ellie from a potential demon image into a kind, pure, edge alien.
Apart from alien loneliness, the loneliness of ordinary individuals is more common: our greatest fear is loneliness and death. Death is unavoidable and difficult to predict with certainty. The normal state of our existence is that it is difficult to find a friend, true love is short-lived, and loneliness lasts forever. Dying alone is our worst nightmare. Life faces death, the perplexity, desolation and pain when the individual is trapped in the net of loneliness, which is the eternal and intractable sphinx mystery of mankind. In contrast, vampires are a species that avoids death, but are destined to be lonely, and if they want to get rid of loneliness completely, it is inevitable that they will not be far from death (because they must be close to humans). The film gives a staged pardon for this eternally difficult dilemma-Oscar follows Ellie on the world, but it is very likely that Hockang’s fate will be repeated when he is old. Of course, these are all left in the narrative. In the blank, for people to reverie. The novel version resolved this contradiction once and for all-in "Let The Old Dreams" written by Lundwest Die (Let Old Dreams Die) contains the postscript of "Don't Enter": Allie turns Oscar into a vampire, and the two stay together and never grow old. At this point, a true secular myth of "immortal love triumph over death" has been successfully completed. The self-exile exiled loneliness and death, leaving only a pair of eternally youthful lovers. In this sense, the film also tells a story of escape from the mundane. Even if you are not a different kind, and you are lucky (or unfortunately) never deeply aware of loneliness, or you are on the throne of success in the mainstream society, it is still difficult to completely eliminate the result of being disciplined, suppressed, and restrained by the mainstream society for a long time. Of boredom. The film happens to fuel a fire that cannot be extinguished in your heart-change your way of life, become a challenger of order and a trespasser of habit. And self-exile from human society with vampires in love is nothing more than the seductive longing and thoughts of Nirvana rebirth. The seventh change of the film compared to the original is that the scene of the police interrogating Luck is deleted, leaving Allie and Oscar in the narrative with only one rival, Luck trying to get revenge. In fact, the film creates an environment similar to anarchism. Although the police have appeared in classrooms and crime scenes, they have never threatened the lives of the two protagonists. A pair of partners who drift outside of order and finally enter the extrajudicial world completely is a story of escape from the mundane world. In the sequence of works on the subject of vampires, the sexual problem of vampires is always a missing link that cannot be solved. Among the multiple opinions of different opinions, just to name a few: the act of vampire is not only the feeding of survival, but also the pleasure of sex. Behind the vampire legend, there are hidden twists and turns of the so-called Victorian suppressing sexual desire; the image of a vampire in the West is always a metaphor for a female image who is hard to fill in the desire to fill the bones and sucks the bones of men (7) ; In contemporary movies and literature, vampires are often set as a species that is indistinguishable from humans in terms of sexual life; I believe that perhaps the closest possibility is that vampires have no sexual desire and do not need sex, because they are immortal. The species has no reproductive instinct and does not need to give birth to offspring. The isolation from sex, together with eternal loneliness, is the punishment from the Creator.
Correspondingly, the solution of "Don't Go In" is not without cleverness. The novel first hints at the existence of the castration ceremony for male vampires, which coincides with the possibility discussed by the author-castration is also an exchange bargaining chip for immortality. Then, in most of the texts of films and novels, this problem was avoided or eliminated. Although Ellie's identity as a sexless person does not completely revoke the possibility of sex, the author also sets Oscar as a 12-year-old boy, and the story naturally enters the pure love aspect. Lundwest believes that 12 years old (not 11 or 13 years old) is the most beautiful moment of emotional relationship. It is the age at which pure love can still be experienced without real consideration of body and sex (on the verge of sexuality but not yet there). The deletion of the plot of pedophilia and its behavior has made the film a peaceful and peaceful place that has nothing to do with sex.
In terms of space, the film/fiction selects the most suitable living space for vampires. The snowy natural environment of Northern Europe and the slow long polar night are very compatible with the endoplasmic characteristics of vampires. As a counterexample, we can imagine how awkward and weird a vampire living in the sun-drenched tropical environment would be. Vampire, cold, dark night, the most ideal match. Compared to Transylvania, which has long been abusive, and modern metropolises, the Nordic environment settings are also enough to make the audience feel fresh.
Thinking about the nature of time has always been the starting point and end of the vampire legend and its psychological mechanism. The film has reached a threefold match: it fits with vampires, children, and the audience's psychology. The film's near-independent quiet speed fits perfectly with the immortality of vampires. Compared with adults, children's subjective time passes more slowly. For Ellie, who is always 12 years old, the flow of time seems like nothing else. Modern science and technology are highly developed, and fast-paced life has brought endless pressure and emptiness to contemporary people. We were submerged by the flood of information, but gradually lost our spiritual home. The slow and steady rhythm of the film is just like a rebellion against the rapid pace of life in post-modern society—in a sense, the emptiness in carnival and the loneliness in the hustle and bustle have almost become the unavoidable and ordinary state of contemporary people, while this film is Take the mad love in the cold and the love under the ice as a countermeasure for tit-for-tat. The director has spent several years preparing for the filming, and each frame is full of hard work and sweat, allowing the audience to remain in the pure land of the earth. The film is like a warm current in the cold night, refreshing, like red ink that is gradually thawing, slowly infiltrating into the heart, and it will last forever, with a lasting aftertaste. In this way, "No One Who Lives In" provides us with a chilling and heartwarming horror film, a touching love movie with different customs, a pure and beautiful dark night poem, and a romantic legend stained with blood. At the same time, it is an enclave fleeing despair, loneliness and frustration, a flame wrapped in a snowball, calm and full of affection. References: 1. "No One Who Lives" (2008) English version of Blu-ray commentary soundtrack, commented by Thomas Alfredson and John Jerved Lundwest, Momentum Pictures, August 2, 2009 . "The Scarlet Fairy Tales", John Jervid Lundwest, translated by Sun Ruyi, CITIC Publishing House, July 2010 3. "1001 Movies You Can't See in Your Life: 8th Edition", Stie Edited by Wen Jay Schneider, translated by Jiang Tang, Zhao Jianlin, and Wang Tiantian, Central Compilation and Translation Press, January 2012: (3)929 4. "Film Criticism", Dai Jinhua, Peking University Press, March 2004 :(4)17 5. "On Meaning: Collected Essays on Semiotics", A·J·Gremas, translated by Feng Xuejun and Wu Hongmin, Baihua Literature and Art Publishing House, June 2005. 6. "A Brief Discussion" Interview with Vampires > The Image of a Vampire in ", The Lonely Old Angry Youth, Sina Blog, May 17, 2014 7.
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