And according to Bruno, this has never encountered two people who provided the necessary conditions for a perfect murder-exchange-two people who couldn't beat each other, helped the other party to get rid of the thorn in the eye, what about the police? Can you think of who made it? For this kind of bold idea, although there are still many problems in actual operation, it can not help but shock us: these strangers who pass by every day may have such a big impact on our own life. . To quote an old saying that Bajie becomes a pig when there is no acquaintance. Is this because we show more of ourselves in front of those we don’t know? In a broader sense, we encounter during the journey. Travel companions, netizens on the Internet, and a blog of a great person subscribed by RSS (the public said: He Caitou is also) can be classified into this category...
In any case, Bruno seems to have helped a friend who met unexpectedly on the train to kill his romantic wife in an extremely easy and simple way. As his criminal conspiracy succeeded step by step, the audience's nervousness rose little by little, but Hitchcock didn't seem to be satisfied with the way he told the audience. I mean, although the audience clearly knows the outcome, the story is always tortuous. Hitchcock always sets up a suspense first to provoke people’s speculation and attention, and uses some seemingly inattentive little things. After the transition of the shot, it is unwrapped in a way that people cannot predict. For example, when Bruno murdered Guy's wife, he approached step by step, but there was no real phone meeting because the woman already had two male companions by her side. However, the hunter was always patient. After a period of eyebrows and quiet waiting, he followed the woman to the channel of love. There was darkness in the gloomy cave, and the two boats were separated by less than one meter. It's a good time to start. The opportunity cannot be missed and will never come again. A murder happened at this moment, and it is truly perfect. The camera was taken at the exit of the tunnel. When the audience’s heart raised their throat, all they heard was the sound of a woman and a male partner laughing. They couldn’t help wondering why the killer hadn’t taken action yet. His thoughts just flashed through his mind. A woman's heart-piercing screams were heard in the ears, and the audience's nerves just relaxed once again, and the horror reached its extreme, and it finally came down as expected. And when a group of people waited out of the cave, they were actually flirting... the murder hadn't started yet. Hitchcock doesn’t need to create a horrible atmosphere to scare people, nor does he need so many vigorous ketchup sprays from B-level films—the narrative and a few shots alone are enough to make the audience play with applause. In between. "Mentally Ill" should be a better example.
If the preparatory work before the murder is like a lion playing with its prey, the final move can be considered a climax. Whether it is the knife dancing under the shadow of the light in "The Mentally Ill" or the silent choke in the film, murder is a way of artistic expression, it does not show the violent aesthetics. Taste, but like a delicate craftsman's craftsmanship.
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