The sea of North England, the slums full of rubbish, the desolate journey. To die here must be bone-chilling.
The director's heart is almost crueler than Kubrick, killing a hero in one episode. If the third part does not comfort a little light, it is possible to force one or two people to watch the movie and watch suicide.
Although the play is full of mysteries and bloody crimes, it is still biased towards the level of art films. A little hope in life is like a feather passing through the sun by chance, fragile and vague. The "hero" who rescued the girl is such a suspicious two. One is sinful all by himself, and the other is born of filth. Not about redemption, good and evil are too extravagant here. As I watched it, my heart trembled, if life could only count on this little vulnerable humanity, it would be terrible.
The best of 1974, like a hand mirror, exposes a rough sense of recording. There is no soft light or flowery technique at all, the whole piece is cold gray, and the technique is elegant. And then there were dreams, and young journalists willing to be heroes of justice; crime tycoons got what they deserved.
But women are basically useless in male-dominated crime dramas, and even Rebecca Hall seems logically chaotic. Helen in the second part is also a little too talented. The third witch is even more ridiculous.
I don't know if it's because of the vulgar-looking male lead, the second part made me feel too tight and too tight. And in such a long space to lay out the details of the Ripper that are not very relevant, it seems that the stamina is insufficient when the secret is revealed.
The third part is a bit literary, the director always wants to express his lyricism when he has nothing to do. Although it is sometimes poignant and beautiful, sometimes it seems unreliable. The presence of the witch can be understood as a balancing priest, but her presence seems to have only created chaos.
Although Liu Jianming climbed very high in "Infernal Affairs", he is basically a bad guy facing the entire police station and his tortured conscience. As for the Red Riding group, they would only laugh wildly at Liu's predicament, while scolding Fuck off and smashing him to pieces.
Only the West with Christ speaks of redemption. In the "labyrinth", firstly, they gave up their dreams without hesitation; secondly, they let outside justice know the cold "friendship". It is not uncommon for a family of police and gangsters in the world. The collusion between politics and business, and the alternation of black and white are only for profit. The line that the priest was put on at the end also showed the importance of this play. There are some artistic treatments in the third, such as the phantom white light coming in from outside the curtain behind the priest; the feathers facing the sun and dust when the lawyer lifts the little girl from the basement. The priest was not given a mansion and money, and he seemed to enjoy the soul control of all women and children. His BJ is the prettiest and most miserable kid on the show. In the icy northern sea breeze, the soul was crushed by pain, and only a little bit of corpse remained.
The title translates to a maze not bad. In addition to the tragic style, it is very confusing and attractive to find answers in the clues scattered in various films. Not as dramatic as classic crime films like L.A. Confidential or From Hell, but with more clue and extension. The sense of despair that you fall into the abyss and can't climb out makes it far more than the average British drama. The British have once again had a profound insight into the use of television as a film.
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