7.0
David Holm lives in a triple world, the world of the past, the world of reality, and the world of the dead. How to shuttle between the three, the editing choice of the movie is flashback, and the special effect in the mirror is double exposure, all of which are extremely successful applications of this language. Compared to silent films of the same period, the score and color grading are also very precise for the expression of mood and environment. But in essence, the technology that helps the story comes from the drama, similar to the five-act structure, and the design routine of the story also comes from Eugene O'Neill's play model, "The character's character must be hidden in the old past, what is happening now. The thing is to force him to recall the entire history, and when the truth is revealed, he can be redeemed or destroyed.” All are two-dimensional scheduling without any depth at all, creating a sense of stage that is irresistible. For example, the posture of three people sitting facing the audience when chatting in a cemetery or a tavern is quite entertaining. Even the classic long axe that was inherited from "The Shining" did not have a good spatial performance, and the scenery and angles were a bit poor. Looking up and screaming before death, although later learned by Bergman, still has the pompous tendency of a drama actor standing at a table and eating people. Of course, I'm not saying that imitating a drama is necessarily bad, but at present, my personal preferences are relatively repulsive to stage-like films.
The image of the god of death is a link between the past and the future. The scythe cloak never shows his face, plus a ghost carriage; and the rules of the game about death were quite imaginative at the time. The so-called god is just a coachman. Succession by luck. In the lunar calendar, the end of the year is also called Nianguan, and the beasts eat people. I don’t know if the setting of death is a coincidence. There are some surprises at the end, first of all, from the perspective of not taking care of the nun, where is her soul as the only person who died in the end. The posture of the Virgin still makes me feel very enlightening. There has never been a moment when I loved him more than this moment, and there has never been a day in my life when I was more equipped with this sense of mission to purify the wicked than before my death. David's resurrection from the dead is the climax. His prayers are answered. He will become a good person and then go to death. Pointing out that sentence makes me mature before my soul is harvested; for him, It must still be harder to live than to die, as everyone does. However, even putting aside the violation of the rules of death's succession, both David's confession and his wife's forgiveness were insincere and abrupt: who would believe a promise made by a drunken man when he was sober?
When Diehua first appeared, it was the most surprising moment for me. The god of death put people on the carriage, and it was extremely quiet. Overall, it is still a movie viewing experience that has little to do with its historical achievements and my liking. Looking to the future, Ingmar Bergman is the most developed in this film. We saw "Wild Strawberry", "Virgin Spring", and "The Seventh Seal". And looking at the past, what I can realize is that Dickens really deserves to be the ancestor of the filmmakers in this world.
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