Thomas Aquinas invoked Aristotle's theory when proving the existence of God: everything is in motion, and the motion of every object must have a mover, and by analogy, there must eventually be a stationary first. A mover, which is the origin and motive of all movements in the world, that is, "God". This argument can be compared to almost all detective or crime novels, where the criminal character in the story is the source of everything, the "first mover", while the detective or policeman racks their brains, starting from the most obvious cause and effect relationship and working backwards step by step Push until you find the first mover to make the story complete.
And "Ugly" seems to be a counter-example: after the so-called first pusher pushed it, it disappeared before it appeared, and other characters acted as pushers one after another, and each old event seems to have become an event. The turbulent dark waves, the original promoters are more and more invisible. It turned a simple kidnapping case into a complex incident involving all kinds of old hatreds and new crimes, so that every character involved showed an ugly side, and the audience almost forgot what the original case was.
The original case can be summed up in one sentence: Actor Rahul Varshney (aka Kapoor) and his ex-wife Shalini's daughter Kali were kidnapped by human traffickers. Although the traffickers quickly revealed their secrets, they died unexpectedly before the identity of the kidnappers was revealed. The real murderer is dead, and theoretically, there will be no further events to promote the development of the case. At this time, a person who takes the initiative to replace the role of the promoter appears: Rahul's friend Chaitanya, who is the first to replace the disappearing kidnapper. The role of extortion. Then other characters intervened to add to the chaos: Rahul and Shalini's new sheriff's husband were entangled in the various personal grudges of the year, and the old story of Rahul's domestic violence wife was regarded as the first time for the poor actor to divorce, lose custody and kidnap his own daughter. Motivation, the mutual suspicion between the two was originally due to the rivalry between the two; Shalini's younger brother also called his sister under the guise of the kidnapper to ask for a ransom; Shalini himself asked the rich father 1.5 million more on the basis of the 5 million ransom to enrich himself. My friend Rakhee took the opportunity to steal the 1.5 million; even the sheriff Shoumik Bose (that is, Shalini's new husband, Rahul's rival in college), who justly refused to join forces with the smugglers at the beginning of the movie, also showed a heart of iron: Did he marry Shalini for love, or just to get revenge on Rahul? It was his indifference to his wife that made Shalini, who was slow to shoot in the first shot of the movie, finally pull the trigger... Bystanders watched as these characters scrambled to fuel the flames, dyeing their hands black with sin , suspecting that the "first mover" is an arrogant and stupid ex-husband, an unfaithful friend, a vain wife, a greedy lover, a younger brother who takes advantage of it, an indifferent new husband, and of course it may be the first The one who died. Bystanders join these people in forgetting the little girl who had been kidnapped for so long. So we see that the story came to the end with the absence of the key role of the kidnapper, and it was a dark ending in which the victim was tragically torn apart.
With so many contradictions centered on these few characters, if Kali hadn't been kidnapped, some of them might have committed the same crime sooner or later. And in the movie, no matter which character ends up impersonating the kidnapper and making the call, the original crime story ends the same: Shalini's father loses money, and Kali will starve to death with no attention. The narrative structure of the entire film is like a labyrinth of different routes, with definite entrances and exits, or a complex and delicate machine, once in operation, no matter which part is touched, the last gate will be pushed. Such a story makes people wonder if the "first mover" in the so-called crime story has only the meaning of the role, and whoever pushes it is the same?
Perhaps you can explain crime stories as narrative texts: literature never says that stories are composed of characters (Person) or characters (Figur), and the smallest unit of narrative text is "Motiv", which is a small theme, such as love and hate between two people, another example of a war, and so on. It is the reason for the appearance and existence of the Handlung. Regarding the movie "Ugly", if we look for motives for the behavior of each main character, we can find too many: hatred and jealousy between rivals, depression after broken dreams, greed... And if we look for common ground for these motives, That can only be selfishness in everyone. The story begins and ends because of selfishness, and every lie and betrayal in the middle is also because of selfishness. At the end of the story, the life and death of the real criminal are not as important as the intrigues of other characters, and the past and future of the characters can also be replaced by the only motive: at first, a selfish hand drove the whole event, and it doesn't matter whose own it is.
So in my opinion, the significance of this film is that it is not a melodramatic crime film about tracking down criminals in the first place, but strips off the plot layer by layer, and finally finds not the specific "first mover" The character, but the deepest motive, makes people smell the stagnant darkness of human nature under the turbulent plot - and since the characters and the plot are together, they have lost their personality in this stagnant water, so the audience should ask In the same situation, would he also hide in that deep pool and stretch out a selfish hand while he was in chaos.
View more about Ugly reviews
