The opening of "Memories of Murder" clearly stated that the story took place in 1986. For South Korea, it was a painful and itchy year. South Korea was in the transition period of democratization. In a delayed small town, with the ideal of a young police officer who is 'people from outside', the contradictions required for such a film to construct the stage are quite complete. The irritable, short-sighted, old-fashioned law enforcers in small towns are uncivilized and old-fashioned, alienated veterans and repressed perverted workers are all branded with historical events. As such, the characters in Feng's film have such multi-dimensional identity, so the film is both flesh and blood based on real events, as well as implication with the imaginative referred to.
The progress of the story has no purpose. The end of the case makes the rational and alert police officer fall into a riot that can't be proud of himself. He wants to use violence to end the crime of 'rational derivation'. After his death, he fell into a long silence. When the movie comes to the end, the police who have already transformed pass by the crime scene at the beginning of the movie, just like a retrospective from the time to the tedious middle-aged. From 1986 to 2003, after the change was calm, everything was as calm as in memory , the little girl said, someone has come here and said the same thing, but unfortunately the murderer was so ordinary that it was difficult to identify. Looking back, Song Kanghao's pie-like face with complex and affectionate expressions gradually disappeared from the screen.
The political expression in "The Monster of the Han River" is much more direct. It begins with the evil deeds of American scientists. With absolute power, he ordered South Korean scientists to pour poisonous agents directly into the Han River. This is the beginning of evil. Compared with "Murder" The metaphor referred to by the dominance of discourse power in DNA authentication in "Memories", the obvious political rights appeals in "Han" are clearly discernible, the presence or absence of the virus, the intervention of power, even the warm scene at the end of the film also brings South Koreans The doubts about the sense of belonging are expressed by mainstream Korean directors, such as Kim Ki-duk's "Recipient Unknown" and Luo Hongzhen's "Yellow Sea".
What is even more interesting is that for the government or collective inaction, individual heroism is a unique skill in Hollywood, and the talent of Feng Dao is exquisite here. He makes the individual appear in a funny and dark humorous way. Family battles are also haphazard. The interesting part is the slow-motion parts of the film. One is the grandfather who is dignified and righteous, alone against the enemy, and the other is the uncle holding a man-made bomb and chasing after the victory. The funny thing is that both times and their funny The reason is failure, the hero without pathos is covered with entertainment and blindfolded, in fact, what a sad story this is.
October 2, 2013
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