Seeing that the British drama "The Night Manager" is called the Le Carré adaptation of the most OO7 Bond series, explained a lot of my doubts. Indeed, the tone of Le Carré's novel is dark. "Tinker, Tailor, Soldier, Spy" is gray even on the big screen, full of exhaustion and despair, not to mention the BBC's 1979 Russian nesting doll version, in retrospect, there is even an illusion that it was a black and white film. No wonder some people jokingly call Le Carre Fifty Shades of Grey. The various characters in his novels are entangled in them, full of moral ambiguity, and people have nowhere to focus. The language of the novel seems obscure to me, an English foreigner, with many long sentences and unexpected words. The large-scale detailed descriptions or atmosphere descriptions make people fall into the fog, and when they are carefully identified, there are a number of shadowy figures, trudging and walking with difficulty. I haven’t read much of Le Carré’s original books. Among them, the spy coming in from the cold, this one feels the most obvious. Although I can’t remember the detailed plot, the feeling that the problems in the book have been solved at the end is impressive. This is Le Carré's early work, when life still had answers.
Back to "Night Shift Manager", I haven't read the book, only watched the drama, the sun is shining, handsome and beautiful, if you add Austin Martin and various technological equipment, it is the latest version of OO7. No wonder I lost half of it for two years, and recently picked it up and watched it again after chasing dramas at home. To be fair, the night shift manager presented by Dousen is still close to the original work, and the large number of close-up shots criticized by the audience as nympho are indeed for the presentation of characters. Le Carre's original character is described in a lot of heart, and from time to time, he starts a dialogue with the soul of the first victim, Sophie. It is really difficult to present so many psychological activities in the language of the camera. Be alone. Watching the full play patiently, the night shift manager of Dousen is indeed a bit close to the characters in Shakespeare's writings, struggling and struggling, and it's not very clear. And the setting of the profession of night shift manager is a stroke of genius. This is a figure who observes secretly, in the dark night, in the background, silently watching this world of singing and dancing. The heart of this role is a mystery, no wonder Hugh Laurie said that the character of the night manager is opaque. This is definitely not 007, Bond is outward, raucous, and triumphant. And Le Carré's night manager is silent, his gushing only exists in his mind, where he and his victim Sophie are entangled, and his every step needs her confirmation, from her The strength gained there determines his next steps.
Le Carré's night manager also failed, and this is the most controversial point of the TV version, because the TV version has changed the ending and changed it to a Bond movie's signature sweeping ending. This "the star is The ending of "winning" can indeed satisfy the audience's desire for the invincibility of evil. But this change has greatly weakened the literary character of Le Carré's work. Literacy is a very mysterious thing, and for Le Carré, life has no answers. Found audiobook resources and listened to the end of the original. After all, I understand 90% of English, but can't speak 100%, but what I understand is already cold and desperate. Pine's identity is exposed, and he is locked in Roper's yacht. He is tortured day and night, only his Sophie accompanies him. He whispered in his ear, encouraged him, comforted him, and finally Burr should have found a way to swap him out, he hated the complacent Roper, hated his snow-white jacket, he tried his best to pounce on him, at least let his glittering His shiny jacket was stained with blood, but his final blow to Roper was a failure, good did not triumph over evil, Pine was bruised, Roper retreated, and life had no answers.
There is one scene in the play that I like very much: in the Egyptian hotel, in the bright dining room, Hugh Laurie and Higgins sit at the table, two people in suits and leather shoes, elegant and casual, the dining room is well-lit, and the ceramic tea set on the table is shining. Hugh Laurie told Higgins, "We're like Churchill and Lawrence sitting at the table after the First World War, and they discussed dividing the Middle East." After watching this scene, I found that I am not at all interested in whether or not Higgins will play Bond. If he can re-interpret Lawrence of Arabia, it is worth watching.
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