Director: Steven Soderbergh (Steven Soderbergh)
Screenplay: Stephen Gaghan
Starring: Michael Douglas/ Benicio Del Toro )/Catherine Zeta-Jones (Catherine Zeta-Jones) has
won important awards: 2001 Oscar for Best Director, Best Adapted Screenplay, Best Editing and Best Supporting Actor Award.
Let me tell you a story first: Many years ago, a film student asked Yang Dechang a question: Director Yang, how should I make this scene. Yang Dechang simply said: You can shoot whatever you want to show the audience. This paragraph seems to be irrelevant to this "Drug Network". In fact, in addition to dreaming, the "psychic" movie has another core motivation-the ambiguity of looking at reality. And this is precisely what this "Drug Network" is committed to.
From the
perspective of the narrative structure so close and so far away , the entire "Drug Network" unfolds in parallel narratives of three sets of stories. It's like a living case of reality; the three sets of stories, including high-ranking anti-narcotics officials, low-level detectives, and ordinary families, look at reality in a "three-in-one" posture. So, how does this film, which is considered by the American film critic Roger Ebert to “have an important influence on American society today,” how to “filter” the real material through the camera? Simply put, Soderberg used his lens to take us into the door of the famous "drug network". The children enter the drug trading area through the "door", and the children take heroin from the "door".
Obviously, "Drug Network" is full of a lot of filters. The first time the blue filter appeared in the film was in the opening court scene. When the majestic court appeared in such a filter, an atmosphere of repression and boredom rushed to the face. The first actor of the film appeared. Obviously, his entire character's fate is "filtered" in this blue filter. In addition to the standard format of 35mm film, this "Drug Network" also uses a large number of 65mm film shooting methods. It is like a color of recollection-the khaki flushing effect-with the appearance of Javier (Javier). And the only time this color "melted into" the normal world was the spy on drug dealers-telescopes by those senior officials. At this point, the core ideas of this film have also emerged with this "snooping shot". They seem to be far away from the normal society, but in essence they penetrate into all corners of the normal society.
In particular, it is worth mentioning that the film completely "reproduces" Hollywood's habitual tactics in the 1970s when it comes to lighting. The "a bit nuclear-like sunlight" pointed out in the commentary soundtrack is actually a fine work of film craftsmanship. In order to achieve this effect, the director (and photographer) Soderbergh added a filter in front of the camera lens on the one hand; on the other hand, he deliberately filtered the white light again in order to prevent re-exposure. This effect can also be seen in some of Iwai Shunji's films. Of course, Soderbergh handled it this way. Only in order to enclose the character active in each story in a "closed" environment. Except for one place: when Caroline was sexually assaulted by a drug dealer (black), the child's romp came from outside the window. Her private space (hiding in the bathroom to take drugs) was shattered. So, after she was rescued, she began to communicate with people in a rehabilitation association (open space).
"Making a movie is like creating, every film will teach me new things. And this "Drug Network" is just communication." Soderbergh said. The beginning of the film is a series of dialogues. More textual experts pointed out that the number of people who spoke in this film exceeded a hundred. Regarding communication, we can find three clear examples in this film. First, the family meeting of the Caroline family uses a prominent "triangular" composition to show their clear stance on their daughter's drug abuse incident. The paragraph ends with silence to terminate the dialogue. Second, Soderberg used Michael's example to show a kind of "audience" (attendance at the banquet of the upper class, listening to people talking) and "talking people" (attending the appointment of a new position, telling the truth) The emotional gap between. Third, Soderberg used the "melting lens" to edit members of a certain rehabilitation association sitting in a circle in a series of horizontal Pan shots. The communication between them is not closed, but open. Regarding the use of space, Soderberg frequently uses deep focus and the vertical walk of the characters in the painting to highlight a sense of burnout in the characters. For example: Mike walks into the White House and walks out of the White House, the inner emotions of the characters are very different.
"Drug Network" is 147 minutes long, but the overall rhythm is exceptional. The cross narrative of the three sets of stories quickly accelerated the pace of the film after Helena was threatened by the gang. The fast camera, the reverse camera, the split screen, and the forty-five-degree tilt angle all make the second half of the film feel thunderous every step of the way. However, in such an atmosphere, Soderbergh used a natural sound-the sound of wind-to reinforce the character's tragedy. Rather than the popular electronic rock in Hollywood today. During relaxation, the mood of the audience was naturally fully regulated. It's like, Soderbergh's lament in the commentary track, "This movie has too many problems worth discussing"; again, this article is just a piece of advice.
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