Movies are the art of watching. If the narrative of the theme itself depends not only on the story, but on the unification of the form and the story of the movie, then we would say that this is a really good movie. Come to think of it, the movie is called "Close-Up", which cannot be. It is superficially believed that this is because most of the shots given to the male protagonist Sabqien in the film are close-ups. The beauty of this film, the beauty of which reflects the power of the grammatical feature of the film in many ways.
Close-up is an extreme type in film scenes, because it focuses the viewer's attention on one single thing and weakens other things. Close-up is highly subjective. If the close-up is not used well, the audience will Will appear passive, subject to a certain point of view. But at the same time, its strong attributes will make things form a strong connection with the theme from certain angles. Even if a single event is reflected, it may be possible to talk about it, so the problem is, what the author needs the audience to really pay attention to is What is important, a leaf or a face? Still a truth? A good close-up is the one that hits the nail on the head, causing the viewer's blood dizziness when not right, and stimulating the viewer's deep resonance when appropriate.
The structure of this film is like a vortex spiral. The development of the plot is from the outside to the inside, layer by layer, and the progressive process is almost never delayed. However, Abbas' films always seem very casual and light like the wind. . It allows the audience to immerse themselves in a certain conversation scene, and unknowingly understand the whole event. Just like the scene where the reporter talks with the driver at the beginning, the four people in the car have a conversation, but they are not the central character of the incident, but a point in the outer circle of the vortex. There are many clues from the center of the incident. Why? Just to embody one point, we saw the state of the driver who was carrying reporters to report the fraud while waiting, he saw the sliding metal can, saw the jet in the sky, saw the flowers in the garbage heap and collected them until we The seriousness of the case was only realized when two police officers got out of the car with guns. In this scene, the audience reflects on how long the film's ink will stay on irrelevant people, and guessing the whole of the event in the irrelevant clues is a skill of knowing the details.
However, with the intervention of the interviewer, the fraud case has been published in the newspapers through the reporter's record, and the film's perspective is from the driver just now to a strange interviewer. The source was traced, and the interrogation at the plaintiff's home also seemed to sublimate the material. The perspective of the film is clear, but the dialogue between the characters is still idle, and often diverts from the event, for example, the second son of the family will talk about employment issues. Although there is not much suspense in the questioner's subjective perspective, his determination to seek the truth is gradually noticed by the audience.
By the third act, the presence of the director integrates all the characters, and the sense of freedom of the creator permeates this narrative vortex. The director of the film, Abbas himself, visited the prison to visit the defendant, and the audience was immediately confused. It turned out that the interviewer in the previous scene was the director, and the original fictional drama was mixed into a documentary flavor. The plot is still being pushed forward, but the medium of the film has changed, and this form of change is narrative, he shows the true motivation of the film, from the original inaction to the director's own motivation.
In the court part, the perspective is upgraded again, from the eyes of a real director to the lens of the camera, and the rough simulated camera picture shows the entire trial process. Abbas told the defendant Sabqian that there were two cameras aimed at you at this time, one was a close-up camera and the other was a panoramic camera, and the audience could only see the many single faces under the close-up camera. Performance. The close-up at this time is not only about the scene itself, the director seems to be telling the audience, please pay attention to this small case with only 1900 Terman, and listen to what this man who pretends to be the famous director Mark Mabaf is going to say . The viewer's eyes are narrowed, which is a close-up of the narrative.
Since then, when the plaintiff's family narrated the reason for the case, the perspective not only stayed on the recorder, but also went back to the past with the narrator, constantly switching back and forth in time and space. The center of the vortex gradually became clear, and the mystery was why did Sabuchien impersonate the director Mark Mabaf?
By this time, the overall structure of the film has been formed, and the audience only needs to listen to Sabucian. The judge and Abbas asked a lot of questions instead of the audience. These are just like the questions that pop up in everyone's mind when they see a news personality on weekdays. The inner activities of criminals? What do the relatives in this family think? What is the voice of the outside world? Does he have any difficulties of his own other than excluding evil? etc.
Abbas's story material is extremely simple, just a news event and several questions, the key is how the director combines them. Sometimes the film is very thorough, and sometimes it is not so thorough, such as whether the defendant Sabucian impersonated Makhabaf because of mental illness, or another performance art that needs to be interpreted. In fact, the character himself has said a lot, but he is always in a detour. He is not responsible for giving answers. In this regard, the film has a large degree of character blank. The film has all the industry consciences of the news media. The truth is not single, the truth is in everyone's heart, but the premise is that the filmmaker must tell enough truthful and credible materials to present, especially when the recorder is willing to put himself out of the outer circle. Every quest to the center is made public. As long as people are willing to put in the gaze, the inner answer will be revealed.
While the whole vortex gradually became clear, the audience also brought unexpected surprises. Abbas arranged for the real and fake Monkey King to meet, and the impersonator, director Makmapaf himself, entered the mirror to welcome Sabqian out of prison. The two ride motorcycles, and Mark Mabbaf gives Subuchian money to buy a bouquet of flowers in apology to the plaintiff, all of which echo the text of the film that Wen Sabchien made up when he deceived the Ahengha family.
Merely using close-ups in the film is not enough to name the film "Close-Up". "Close-Up" is aimed at the social reality of the disparity between the rich and the poor in Iran. For the poor, they cannot appeal to them just because they have made mistakes. Turn a blind eye, no matter whether their tricks are clever or not, whether they really intend to use art to express their inner experience, whether they will change their minds or not, as a filmmaker should treat all people equally, attention is a kind of power, close-up as a film The key technology of the art is the behavior that can be practiced.
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