The volume is too large, and it is estimated that it will still score two reviews.
It's still three hours, but Griffith's storytelling ability has been greatly improved. I don't know if it should be attributed to the multi-line narrative or the story is really well told. After watching the first act, I even got excited, and directly put the rest. Black directly kills it.
The so-called success or failure is also Xiao He. People a hundred years ago were probably not accustomed to multi-line narratives, so before each transition, Griffith's monologue was like the composition I wrote in junior high school, which was straightforward and point-to-point. It should be a "poke" question, and that kind of poke to death.
The lens has also changed a lot, such as the following
The cross with lights. To be honest, I almost forgot who this buddy is. For me who is not familiar with the Bible, I might not realize this clue if the second scene is not filmed. But these little tricks, including the actor's performance, remind me of who he is.
The actor's performance is also remarkable here (of course for that era). It is said that Griffith brought the actors together for training, and the purpose was to forget the stylized performance mode of the stage play. We can see from the film that the actors did perform a lot more naturally, and there were very few exaggerated techniques. Few, not none.
The lens layout is as follows:
In-depth shots, four couples, the distance of each couple, the direction of sight, and the degree of their relationship with each other can be imagined to be completely different. Griffith's scheduling ability here is really top-notch.
But Griffith's ambitions were too big.
The last scene of the Babylonian defense (...), the funds are burning. . . Money is exploding. . . The funds said that the filming should be finished as soon as possible, and there is not a drop left. . . . When I saw the real wall of Babylon, money. . . When I see a siege machine at the same height as the city wall, the cost. . . When I saw two siege fighters burning, I passed. . . . Don't worry, there's a jet train behind you. . .
To be honest, I didn't see anything to do with the theme of this paragraph, I can only say that this is Griffith's ambition. An ambition for complete visual effects, an ambition for narrative ability, and an ambition to integrate all the shooting techniques at that time and tell the world that movies should be made this way in the future.
It's a pity that the steps are too big, it's really easy. . . .
But that doesn't stop me from calling him genius.
"Beautiful and motivated people work tirelessly all the way, but in the end they fall at the feet of fate." Griffith's construction of characters and plots also follows the creative point of this ancient Greek tragedy. The little musketeer's abandonment of evil and good for love is always accompanied by unfortunate events that keep fermenting.
An eye for an eye, a tooth for a tooth, also accompanies the little cutie that Jesus is now, and only the crucifixion of Jesus runs through the entire film, with Jesus bearing the cross to herald the fate of the little Musketeer. Advanced, really advanced. Although it can't help but feel fragmented, this method of mutual radiance and mutual confirmation was too advanced at that time, and it was outrageous to be advanced. Only in the movie era can you play like this. If you are not afraid of dizziness from the audience.
Facts have proved that the audience is really likely to faint. audience of that era.
About "last second rescue". Obviously the birth of a nation initiated the concept, but it has certainly been greatly strengthened by partisanship. The cradle of fate used for the transition is gone, and the cross montage points directly to the two critical moments, strengthening the tension and tension of the film and television until the final climax. Here Griffith has used cross montage so thoroughly in that era, forming his own unique characteristics.
Griffith left too much legacy for future generations.
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