DePalma is a director who is oppressed by the authorship and uniqueness he pursues-of course, this is not to say that there is something wrong with his work, but to the different temperament that his work releases. Many people say that he inherited Hitchcock. Indeed, the ambush of suspense in the plot and the use of images to shape the strange and enchanting context are all Hitchcock-like. However, his works and his own private goods are much more than that.
Anyone who has seen Parma's works will find that his films have a kind of "stupidness", this kind of stupidity should be caused by most people's accustomed to the fast-paced contemporaries and lack of concern for the "structure". Indeed, Parma had to shoot some scenes that many directors chose not to express for the thrilling narrative of some parts of the film, and even the rhythm of the whole film. Cry me), and speed up the plot that lacks impact (Although "Scarface" definitely has Stone's reason, the rapid development of the family history is definitely deliberate). However, this gave him a good overall structure of the film, and the "image" filled in with reality fits the story just right, and "Carrie Witch" is the one with the highest degree of fit.
In the plot of the whole film, if we split the structure, we can simply divide it into three lines, one Carrie and her mother, one Chrissy and her boyfriend, one Sue and Tommy, and among these clues, The frequency of contact with the outside group of "School", that is, the scenes related to other small people who were killed at the dance party, is more than one. And these clues are balanced by the teacher and hidden in each scene.
In this way, a complete and organic environment is shaped. Although other characters are more or less, we can all get in touch with each other. Coupled with the shaping of script lines, characters with different viewpoints, sorrows and joys Is seen and accepted by us. This approach is similar to the wandering of the protagonist in the opening film of "Crime and Punishment" by Doon. Outside of his independent psychology, the world is shaped by splicing fragments, and the "feeling of record" is established. Deepen the sense of substitution, but also expand the impact. Similarly, in "Carrie Witch", when it comes to "Carrie is angry and destroys the entire venue with super powers this major plot climax", it not only brings pleasure to the audience, but also complex feelings will follow. And later, Su’s nightmare also reflects a kind of "forced fear" and "the comprehensiveness of evil". She is the representative of the bearer of the incident. No matter whether she participates in it or not, she cannot get rid of the influence. In this way, although It is said that the arrival of moral criticism is a bit swift, but the main thrust is also sublimated.
In addition to the above, let's take a look at the reaction to religion. Well, it's very intriguing. Carrie's mother was indeed portrayed as a lunatic, and her role as the director was extremely rebellious and subverted Christianity itself. At the beginning, the simple expression of the morbid abnormality of the oppression of the daughter who had menstruation, and later revealed her ridiculous step by step. The key point is that from the first act, it can be seen that the house Carrie lives in is a symbol of the fortress built by her mother, and when Carrie uses her magic power to lock the doors and windows, it is a symbol of her resistance to her mother. . "Then what?" When Tommy came to pick her up, the scene showing the mother's own state became an unbalanced shake...The false and fragile side was so ruthlessly presented. And after Carrie went home (washing pig blood to take care of the older aunt, being injured by others), the confession when her mother was about to kill her was quite good, the masochistic psychology of the plump character, and the perverted nature of being completely depraved in religion. In addition to the appearance, it also brings out the classic feeling of Shakespeare (think of "The Phantom of Paradise"). After the mother was killed (the knife is a strong sexual symbol, and was fucked by her own daughter...), the fall of the house presented the "Castle Usher"-style Gothic scene of Allan Poe. The audience was shocked, and the criticism of religion will be taken a step further. Wonderful!
In addition to the exquisiteness of the script, I still have to talk about the lens language. Parma's film, although the editing method is novel, but it is also in accordance with Hitchcock's way to slowly tease our minds. The editing of "pig's blood" when it is about to fall, through slow motion, will wait and stretch, and at the same time a sense of despair will follow. It is a very serious technique. In addition, photography has learned a lot of people's styles, the lead-yellow lighting, Arthur Payne's composition, and Godard's small space design are all successfully used to form a unified style. I really like it.
recommend! I hope that Chinese film workers will contribute equally powerful works to us in the future!
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