After reading it, the final rescue is wonderful. What I want to say is that I liked the first half very much: the foreshadowing of the first day and the advancement of the second day.
Do you prefer more exciting battles?
In that kind of scene, the heroic cliché is indispensable. A one-on-one duel, a heartwarming shot at the Japanese invaders. But these are not as profound as the previous "lengthy" foreshadowing, and the capture is delicate.
In the sweltering climate of the Philippines, victory was imminent, but there was no joy and relief from hearing such great news.
Everyone was whispering, except for the arrogant and corrupt roar of the Japanese invaders.
The music is always a restrained trumpet, and it doesn't rise until the documentary time at the end.
On the first day before this rainstorm, the film captures the atmosphere of the event well.
Americans, Japanese, are not originally from the Philippine soil. Now that the war is over here, they convey a different sentiment:
prisoners of war for three years: they (MacArthur) are going to sunbathe this time and go back to Australia.
U.S. Army: Victory is coming, but there are brothers in captivity; and this is not our land.
Japanese Army: Our army will win!
The film is brown, filled with the despair of those who are about to be defeated, and the sorrow of those who are about to be victorious. There are more important things than victory, which is also the theme of the film.
Therefore, the shaping of this atmosphere is very accurate.
The trek to rescue the commander's foot ailment, the tall and frail figure of the POW camp officer, the female nurse, the quinine, conveys the impression of illness and the need for medical care.
Here, control and perseverance are adhered to, and the director does a good job of restraining the desire for heroic grand narratives, making this film a unique war rescue film. In front of life, those grand themes are small. Why are they so honored? Maybe it's precisely because --
"We're not here to get credit."
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