At the beginning of the film, two taxis came to the train station one after another. The first one got off is a stylishly dressed gentleman Bruno. The shoes under his feet are still very popular stitching style, reflecting the upper class in the United States at that time. Fashion and design. After the Second World War, a large number of German designers, mainly designers from the Bauhaus, went into exile to the United States and opened a new page for the American design industry. The second taxi came down with a cover that seemed to have no distinctive clothes. I guess Hitchcock must hide part of the character's character in the actor's clothes, and the walking posture of the two people in the station also shows each other to a certain extent. The difference-one is steady and the other is domineering. The two got on the same train, and Guy kicked Bruno when he changed feet, and the story began.
Guy’s identity--a well-known tennis player who made Bruno recognize Guy at once, and talk about Guy’s emotional disputes, etc., Hitchcock explained Bruno’s character at once, possessing clever talents and strong logical thinking , But the character is weird and weird, a freak. The stranger approached the honest and faithful Gai step by step in the dialogue, and hit Gai’s sore spot. Gai’s wife was promiscuous but refused to divorce her, and Gai and the congressman’s daughter truly fell in love with each other but couldn’t justify being together. Guy motioned to stop the conversation, but his honest character clearly gave Bruno the "right to speak." This was later demonstrated by Bruno's unauthorized killing of Guy's wife and asking Guy to exchange with him-Bruno killed Guy's wife and Guy killed Bruno's father, Bruno was neurotic, clever, and unscrupulous to achieve his goals.
In the dining room, a special lens has stayed on the screen for a long time. The lighter with embossed "A to G" on the cover is placed on the dining table as the foreground. The center of the picture is Bruno, implying that the lighter has become a clue to the development of the story. The catalyst that drives the climax of the story.
To be honest, watching this film doesn't require much brainstorming and is not complicated. But not boring. It is not unreasonable for this film to be called the classic of the classics. Its picture composition is rigorous, and the close-up shots of the characters show the eyes and emotions in place. First, there was a deep and loving kiss, and then suddenly a motion with wide-open eyes, telling us that he would not kill Bruno's father at Bruno's request, and that he would do his best to protect the people around him. The layout of the big scene not only explains the story environment but also highlights the nature of the story. For example, Bruno exposes Guy’s "killing" action. After Guy wants to tell Bruno’s father the truth, Bruno raises a gun at Guy who is walking down the stairs. At this time, it is dark and outside the window. The shadow of the tree swayed with the wind, and Gai walked fearlessly and calmly. When Gai was about to leave the house, Bruno said, "I will not shoot you, I will think of a better way to deal with you", the story is about to Entering the climax, the ending will not deviate anywhere-justice will always defeat evil.
The train, carrying the murderer and the lighter, the murderer is going to use the lighter to transfer the crime to the innocent cover. Bruno attaches great importance to the role of a lighter. Even if the passenger next door borrows a fire to light a cigarette, Bruno does not want people to touch it. He puts the lighter away and then takes out a match from his pocket to light the passenger: when Bruno almost lost the lighter when leaving the station The panic of the action was finally picked up, the story was ups and downs, and it seemed that there was a deviation.
The police, Bruno, Guy, the ticket seller who recognized Bruno as the murderer, the innocent people on the merry-go-round and the children rescued by Guy, they ended the story in the last small scene-Bruno was killed by a Trojan. Gai’s question when he was about to die was a very straightforward question. I couldn’t accept this a bit. I had a feeling of scribbling out the truth: Bruno’s attitude of refusing to tell the truth gave me a psychological balance. The wisdom of the story. Of course, after Bruno's death, the palm of his hand was released to reveal the lighter, all the truth came to light, the police uncle understood the details of the story before and after with a very high IQ, oh, you are the murderer!
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