there is a very uncomfortable experience in student days: cloudy, on Tuesday afternoon, the classmates are gone, you are alone in the classroom to make up your homework, incandescent light makes people dizzy Sleepy, homework is difficult and boring, time is long, and occasionally you get distracted by how to name this experience. This may be the enlightenment of many people about "powerlessness" and "loneliness." The funny thing about life is that as the years go by, the classroom becomes bigger and bigger, too big to go out, homework is piled up like a mountain, there are too many to do it anymore, the classmates go far away, no longer come back, the cloudy sky is entrenched, Become the only weather, and the only person who has not grown up is you. You are struggling in place, struggling in the center of an expanding sea. At the beginning of the film, Mark Schultz appeared in one of the above-mentioned scenes-that impressive incandescent lamp, like in a morgue.
DuPont’s appearance did not bear any curse. In a bright and sunny perspective, he walked over to shake hands with Mark. Although he could not see his face, his voice seemed relaxed, wise, cordial and warm. All this is related to what we are about to establish. DuPont's perception is so diametrically opposite. This is his meeting with Mark. When he parted with Mark, he was no longer in the distant view. He was probably in the largest close-up in the whole film, so that only his nose and one eye could squeeze into the picture, and he would put together an eerie picture with the same piece of shadow. portrait.
Bennett Miller tells the same story in "Fox Hunter" and "Capote". The first half of this story can be summarized as: Two souls of similar nature meet on a detour. Bypass refers to bypassing the very different social labels between the two. The "bypass" in "Fox Hunter" is a tug-of-war worthy of fun, while "Capote" puts heavy ink on "encounter". In the dreamlike music, slow motion and flashing lights, Capote And Perry seemed to meet at a grand ball.
In the first meeting, two people who did not have an essential passion for wrestling declared that they would "see this country soar again" in wrestling. When "Patriot" DuPont made the above-mentioned rhetoric, Mark responded with a simple sincere response. Saying "I want that too." This is comedy. Two empty souls finally resonated for the first time when they made patriotic remarks. The United States has innocently become the object of their love, and they themselves are equally innocent, based on them. Always ignorant of that emptiness. DuPont’s second patriotic performance was even more exaggerated. The melodious music and the bleak empty mirror opened the curtain. DuPont slowly said in the tone of a lyric poet, "Three thousand men died here. These patriots......" Maybe it’s true. There will be naive audiences infected by this formalism, but Miller has actually pierced DuPont's fictional patriotic passion through the splicing of field and field. Before this scene, it was a very symbolic scene of only twelve seconds: Mark, with his back to the camera, sat sluggishly in his guest bedroom, which was dark and full of wall patterns, and There is no exception in the decorations in the left, middle and right scenes-horses. This spooky and luxurious flower room is the growing environment of the lyric poet in the next scene, his background color, his starting point, his cave, and finally his grave.
DuPont's patriotism may not be able to infect the audience, but at least it has deeply moved Mark (although we must fairly admit that Mark is essentially a person who is easily "deeply moved"). In the two slightly jumpy clips, we can observe the real-time chemical changes caused by this "deeply moving" on Mark. In the first place, immediately after the Patriot's memorial speech, in the transition scene, Mark clenched his fists against the mirror in the public toilet to cheer himself up. Mark is a person who likes to face the mirror. In the film, he faces the mirror four times. This second time should be the most pleasant one. The second clip with a slight jump relied on this "jump" to create a comedy color. Mark pulled his brother Dave away from the family gathering. In the next shot, the director skipped the beginning of the dialogue between the brothers. This shows Mark’s eagerness, and what he can’t wait to share with his brother is-"The country has lost their morals and values". In the reverse shot, Dave tried his best to keep listening with a little doubt. Perhaps this is also Dave’s. Faced with a living patriot at a time and his worries about the status quo of the motherland.
As the film progressed, patriotic issues soon weakened, because more interesting is destined to be the reason why the patriots love it. It is not difficult for Mark to understand that he is the front door for us to enter the "fragile". In a speech worth 20 dollars, he stiffly raised his arms to show the Olympic gold medal on his chest in a speech worth 20 dollars. The movement of holding the gold medal was so stiff. It seems to be redundant. In life, Mark has to sensitively make a series of similar redundant actions (and supplementary explanations such as "We both won golds") to maintain his dignity. Where's DuPont? It seems that the only thing he lacks in life is dignity. As a side door to the "fragile", how did he open this door? The process of opening the door then runs through the entire film. From this perspective, Mark is just a footnote to DuPont in the film, or he who loves looking in the mirror has become DuPont's mirror, because after all, art does not lie in the front door.
The fascinating thing about DuPont is his lack of flaws. Even his appearances must be hidden in a perspective. It is not like Mark's appearance that he is completely overwhelmed by the series of scenes. The audience had to collect DuPont’s flaws by themselves, and gradually clear out his face in the accumulation of flaws. He turned out to be a clown, which made him feel ridiculous. Then he took off the mask of the clown and saw that his mystery turned out to be so simple— —His mother, thus feeling sad.
The mother's appearance even before DuPont, but in the form of "photos" which is quite interesting: before Mark shakes hands with DuPont, a picture of him staring at DuPont's mother (the identity of the girl on horseback in the photo should be Not controversial). It is the film itself that also has this front-to-back structure: before the feature film, the documentary "Fox Hunting" appeared first. This fox hunt documentary is the key to the entire film, and DuPont's mother is DuPont's key. As a key, DuPont's mother kept her own space in the distribution of space. Information about her was restrained in a few inconspicuous corners, and even the news of her death was spread by DuPont's lawyers. But her mystery and majesty easily occupies the entire manor with her horse, just as her portrait can easily invade the private space of men.
DuPont’s war of resistance against his mother can be described as "tragic". This war suite consists of four major scenes: the carnival after Mark won the World Championships, and DuPont and his mother about whether the trophy can be placed in the Rosemont Case negotiation, DuPont's teaching performance when her mother visited the wrestling hall, and DuPont's exile on her horse after her mother died. Of these four scenes, the first three were all comedicized. The director's cruel comedy was stitched into DuPont like a black thread, and he could no longer escape the fate of this "sad clown", even if It was the tongue twister of "Ornithologist, philatelist, philanthropist" that he repeated over and over again while sitting in a helicopter, and it all sounded like a doorman song for a professional clown.
For the first time, the carnival party after the World Championships revealed the cloud-like elusive mother-child conflict on a large scale. This pair of mothers and sons from famous families finally found a battlefield in which both of them were satisfied to implement their conflicts over the years. Constrained by etiquette and fame, it is impossible to quarrel like ordinary mothers and sons, and can only secretly choose an appropriate arena: the competition between two sports, equestrianism and wrestling. As a result, DuPont’s impromptu speech started with a rebellious sentence like "Horses are stupid". His speech in the trophy room ended up in an embarrassing cold field just like Mark’s speech in elementary school. His cold field is even more unforgettable. Loneliness, because it is really difficult to find a second person in the world who can share with him the absurd joy of "wrestling defeated equestrianism." This happiness is not only absurd in the incomprehensibility of outsiders, but also absurd in DuPont’s inner self-deception, because after all, this is not the fox he wants to capture, so he can only point to the deer holding up the two wrestling gold medals and asking loudly. With "We caught the fox, didn't we?"
The negotiation scene between DuPont and his mother was the finishing touch of the whole film. Every second was irritating. The two elderly people sat on the sofa and discussed the two slowly. In essence, it is a question of whether something can be put into a certain space. One is whether the newly won wrestling trophy from DuPont can be put into the Rosemont case, and the other is whether the model train of DuPont can be put into the Children's Museum. . This is all the communication that can take place between the mother in the old age and the son in the old age. In such a family, aging seems to be an early thing on the agenda, so the aging of the son can catch up with the aging of the mother. After getting old, the two returned to the logic of children. The dialogue between them was simple and stubborn like a child. In fact, the director Miller won in this scene and the previous one by DuPont. In the scenes of the elderly wrestling match, the dual elements of "old man" and "children" are deliberately arranged. The brilliance of this scene is that DuPont’s mother is also obsessive. "How to deal with model trains" seems to her to be a matter of careful communication. Perhaps in her memory, this was a fierce quarrel between mother and child. This led to the issue, and DuPont's "I don't care" pushed her back to her own loneliness, which she took for granted.
DuPont tried his best to play the wrestling coach, the mentor, father and leader of the team members. This is not a common sense of admiration for vanity, because he only cares about one audience, his eyes are so sensitive and he is always paying attention. If there is any movement in the audience, it means that the person is coming. At the end of the film, this person has been dead for a long time. DuPont, without the audience, can only sit in front of the TV in the snow and enjoy the documentary about him as a wrestling coach. This drama was written, directed and acted by himself. In the end, even the audience has to be taken up by themselves. To some extent, DuPont's fate is not mirrored by each of us. Facing the visit of his mother in a wheelchair, DuPont relied on his acquired ability to speak up and disguised himself as a coach in front of a group of professional wrestlers, although his training still encountered the usual cold field. What the director is stripping away is the sadness of powerful figures. DuPont's power and wealth won him not the respect of others at critical moments, but the limited patience of others to play this "coaching game" with him, the emperor in new clothes. Although he is the emperor, he is also the only naked person in the audience, and no one will share the shame and vulnerability behind this nakedness with him. DuPont’s performance was dealt with for a long time. In the end, he simply squatted on the ground. What he could not imagine was that it was probably this frog-like "sliding" action that made his mother finally unbearable, because this proved it. This is what she remembered as the "low" of this sport. Here, Miller unearthed the visual "low" color of wrestling. What's the same thing is that in the previous late-night gallery scene, wrestling has another visually congenital ambiguity—the sexually suggestive color— -Also got the same level of performance.
Some people on the timeline disappeared inadvertently, and DuPont finally won the war of resistance by relying on the natural death of the enemy. How would a person face the death of his mother? DuPont's action is: let go of those horses that his mother loves-Miller's arrangement here can be described as a magical touch. This is the most romantic scene in the audiovisual processing. The almost surreal blue light was upgraded to shooting. The scene scheduling is that DuPont’s thin silhouette is submerged in the dance-like ghostly horses, and the only zoom can almost be said to be trembling. mind. Letting go of the mother’s horse is the most magnificent revenge DuPont has made against his mother. This revenge is still like a punch in the air that cannot give people the satisfaction of being at the heart of the point. DuPont’s fox still escaped from the hunting net, and it seems to be Fleeing forever, as a Count of Monte Cristo, it is difficult for him to go heartily. This scene is full of unknown sadness. The soundtrack is Arvo Pärt's "Für Alina". After Dave's death at the end, the same melody sounded again. The director used the two scenes to secretly link up the sound effects to build the film. The purest aspect of tragedy.
The second half of the story shared by "Fox Hunter" and "Capote" is a bit more complicated: the stronger soul summoned in an easy moment for the success of a meaning that will eventually be deconstructed. Enough to destroy the shadow of another soul. The presentation of this model in "Capote" is that Capote summoned Perry to the death penalty for his "Cold Blood", which will eventually establish its status in the American literary world (it is an indirect call, and the method is no longer Find a defense lawyer for Perry); in "Fox Hunter", DuPont summoned his brother Dave for Mark. Such a conclusion may be cruel, but in fact Dave’s deepest role in Mark’s life is precisely the "shadow". He is so perfect—whether it’s his personality or his family—that it’s perfect for him. To others, it is almost "injury." This logic of injury has been interpreted in the same way in Mike Lee's "Another Year" in the relationship between the happy couple and the heroine Mary. Not only Mark, but even DuPont’s self-contained perfection when facing Dave also showed a kind of confusion. This confusion was quickly fixed as DuPont’s main emotion when facing Dave (it is not difficult to list a bunch of details to prove this. A judgment, I won’t repeat it here). From this perspective, Dave is also symbolic in DuPont’s life. He means a kind of absurdity that DuPont can’t understand. The name of that absurdity is "happiness". At the end of the film The psychological state before and after DuPont's shooting is left blank, but we can get a little bit of a glimpse through this path: in the face of unsolvable absurdities, destroying them is indeed the only strategy that many people are good at.
In the last shot of the film, Mark, who had threatened to do something for the United States, was finally drowned in the voice of "USA". At this time, he has shaved his head. This is the second time he has cut his invention. The previous time has to be traced back. It was the low time after he was slapped by DuPont. One of the pitiful things about Mark is that he doesn’t have many means to vent his swampy "feeling powerless". As a stunned young man, his methods include shaving his hair, banging his head against the mirror, and competing for the Olympic championship. After that, it was exhausted. The only difference between DuPont and him is that DuPont has many methods. He can publish ornithology books, collect stamps, sell arms, can provide a group of wrestlers as their coaches, and can sponsor a wrestling competition. To win the championship again, and even to the end, killing is one of the options. After completing all these feats, DuPont was able to confirm that he had achieved nothing in the same way as Mark. Since our childhood, each of us has had a fox running in the wilderness of our hearts. Each of us wants to catch this fox, but the crux of the problem is: we never thought about where it is. If we don't know where it is, then we can only catch some animals that look like foxes, such as Olympic gold medals. But having said that, in any case, hunting fox on horseback is always an elegant pastime, worthy of documentary recording, and then engraving the history of our human beings, this famous family.
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