The greatness of "Killing" lies in Keith's attitude. This is no longer a matter of being outside of emotional bias from the perspective of a bystander, or an objective and fair position. I think the critics say this is pure nonsense. We can clearly feel Keith's distinct attitude of love and hate - this attitude is not a simple one-to-one correspondence, but is reflected in the same character. Whether it's the killer or the victim, the lawyer or anyone else involved in the killing, Keith has unknowingly revealed his judgmental stance.
For example, for Jacques, it took a long time in the first part of the film to use trivial details to shape the empty but actually fierce hearts of the characters (some people think that these foundations are too loose, so they stop there, but they miss the opportunity to go deep into the core of the film. ). The hooliganism of infringing strangers in the toilet; maliciously dispersing pigeons on the square; maliciously knocking off stones on the bridge - Keith's attitude towards Jacques at this time is the same as you and I feel, disgust, be vigilant. As for the bloody murder scene in the back, there is no doubt that it is a deep condemnation and intolerance of cruel atrocities. Even if it is Jacques's affection for his sister, or the moving fear and repentance that he showed before his death, Keith did not want to explain how a idle gangster was forced to be a murderer by reality, nor did he want to show how cruel There is also tenderness in man, and he actually poses a tough question to us—whether the law against killing also kills. If we think along this line of thought, we may get the answer that the death penalty is a public imitation of the method of murder, it is used to punish murderous atrocities, but it actually reproduces the atrocities again in a legal form. Jacques sympathizes with us precisely because he is also a victim in a way, but that does not counteract his guilt. Punishment is required, but how exactly should we punish it?
Comparing the script, I found that the movie added an ending - the lawyer escaped the suffocating execution ground, came to the suburbs, and wept bitterly in the beauty of wildflowers. This ending is obviously more poetic and complete, and it has a directional significance for reflecting the dual contradictory identities of lawyers' legal spokespersons but also doubters. But I personally prefer the grim ending of the script - Jacques is no longer convulsing, and when it is determined that he is dead, he leaves the execution ground and disappears into the dark aisle.
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