The opening is to turn on the phone first and put it in the drawer for eavesdropping, which is a good start to the drama scene. The audience will involuntarily expect the characters to speak secret words. In addition, the audience has a pair of invisible eyes and can see what is going on in the house, but the external counterparts do not. Can only rely on listening, this information asymmetry constitutes a great pleasure. Bringing together all the elements of Warner's 3.40s detective noir, it really feels like a total recall. There should be no narration in those days, but I remember there was a narration in "Garfield". Those who are neither sad nor numb to the death of their relatives and friends must have vested interests. The final chapter, close-ups, shadows, shadow close-ups, soundtracks, and flavors really came out. Every character has a clear symbol, the mixed-race girl is the object to be saved, the black trumpeter is the savior, and the standard image of the big thug, this is basically the detective/black/criminal I most want to see or more perfect (whether what?) film. "Is there something I don't know?" When the woman's eyes followed the narration, there seemed to be a narration in "The Falcon of Malta" or "Night and Dreams", which was remembered through an ignorant woman. The difference is that the inherent mentor image-Frank, who has always appeared in the narration, appeared briefly at the beginning, and many of them died directly. (The people who appear in the narration have to die.) There are some characters who won't be killed and are in charge of the comedy part and must have good results, like Gleason, the newspaper reporter. It's always been jazz.
If there is really a weakness, let's be more compact, although according to my understanding, every scene is necessary and it is compact enough.
View more about Motherless Brooklyn reviews
