A play of less than 80 minutes, 4 leading actors, and a few simple scenes can make the audience enjoyable and emotional . This is the film "God of Carnage (Killing)" )"Charm. And it is presented so full of tension and fascinating. In addition to director Roman Polanski’s unquestionable ability to control the film, it has nothing to do with the film’s solid and wonderful script, and it is also superb with the four actors. Performance is not unrelated.
The original drama of the film is translated as "The God of Slaughter". It is the work of the admirable female playwright Yasmina Reza in 2006. Reza's plays have always been exquisite in structure, exquisite layout, and vivid characterization. , The language is rich and sharp. Fortunately, I have seen the Mandarin version of her drama "Art"-when the drama was put on stage by Shangyi in Beijing in 2003, it almost formed an "art storm", which directly caused the difficulty of getting a ticket and the entrance of the Capital Theater was overcrowded. And this "God of Killing", like "Art", won numerous awards as soon as it was performed, and it was translated into multiple languages and swept the world stage.
From the stage to the video, Polanski added a wall to form a relatively closed space. Almost all the scenes of the film are completed in the living room. Occasionally there are kitchens and toilets in the mirror, while the corridor outside the door is It is more like a sign of segmentation. Every time you enter the room from the corridor, the plot will enter a new level. It can be seen that Polanski's grasp of the film's rhythm and the organic scheduling of the scenes, the "Guardian" is not wrong-"Polanski's directing is accurate, clear, and fully in line with the purpose of the film. He is on the screen. The fourth wall erected is amazing. And it is fully in line with the setting of the drama script, and the story is delineated in a specific time and space. "
Many things in reality are difficult to measure with reason. For example, quarrels are often accompanied by Emotional color, and negotiation needs to be based on reason and order. When it comes to children fighting, the reasons and processes are likely to be simple, while adult quarrels contain their own opinions, prejudices, and emotions, and the more they argue, the more chaotic they are. Therefore, in reality, conflicts between children are usually ignored by parents, because once they are mixed in, they will quarrel the children as adults, and when the adults quarrel, the children are likely to be reconciled as before. NS.
At the beginning of the film, two children were fighting, one knocked out two of the other's teeth. The two parents started contact with the idea that civilized people should communicate and understand, hoping to reach a settlement on the child's "violent" incident. The wish is beautiful, the reality is helpless. From the beginning, the two couples seem to be polite on the surface, gradually revealing the unpleasant Ni Duan of each other, and then each other angrily accused and mocked each other, and quarreled happily. During this period, not only the two families quarreled, but the husband and wife also quarreled, and occasionally, due to gender differences, they were divided into two camps, men and women. As a result, all kinds of hidden contradictions in daily life have surfaced, and the oppressive side of ordinary nature has also been exposed. They have noisy from family responsibilities to social responsibilities, from professional prejudices to personality differences, and from educational methods to worldviews. It was hearty and smoky, but it was impossible to reach a conclusion.
These two couples seem to represent the characteristics of different groups of people. Freelance writer Penelope (played by Judy Foster) is idealistic and destined to run into a wall in reality. And her husband Michael (played by John C. Reilly) is a passive hedonist. Because he is disappointed with reality, he is happy to live arbitrarily. The couple's life philosophy has always been contrary to each other. Lawyer Allen (played by Christopher Waltz) is a realistic pragmatist, destined to ridicule idealists. His wife, the financial OL Nancy (played by Kate Winslet), pays attention to image and is always depressed. With oneself... Let these four people reach a consensus on something, which is an impossible task, not to mention their respective darlings. So they quarreled and attacked each other, letting a line of exquisite lines pop out, making the film. Full of witty black humor.
As far as performance is concerned, a master's tricks will always produce a radiant effect. Kate is as good as ever, precise and delicate. Among them, the drama of vomiting due to tension is estimated to be on some sort of rankings. Waltz's performance is relaxed and natural. Close to the role, Foster performed the writer's sensitivity and neuroticism, while Riley's play seemed to be relatively weaker than the top three.
Several props in the film are used well, such as mobile phones and tulips. Lawyer Allen is very busy, and the mobile phones are always ringing. The mobile phone extends the space that the film can express, and it also catalyzes the emotions of the audience and makes it detonate. A climax. Tulip was originally an expression of the writer's focus on the quality of life, but in the end, it was just as badly as a mobile phone by the emotionally out of control Nancy. In addition, pies, coffee, alcohol and cigars all play a role in letting the characters gain emotional release, and also drive the development of the plot.
Sometimes, killing does not require swords, lights, swords, and live ammunition. The killing ability of language is often better. Especially for the so-called "civilized people", if you hit the key, you can beat the poison. In this sense, another translation of the film "Killing in the Living Room" is very reliable.
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