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After successively shooting two short documentaries "Fighting Day" and "Flying Priest" and achieved satisfactory results, Kubrick believed that his ability and experience were enough to complete the feature film shooting, and he resigned for it. Worked as a photographer for Look magazine for five years, asked poet friend Howard Sackler to write the script for [Uneasy and Desire], and focused on raising production funds (among them, the uncle who was a pharmacist was Kubri gram contributed $9,000). As with previous documentaries, Kubrick once again took over all the technical work, including editing and photography. Interestingly, although most of the critics at the time gave Kubrick's feature film debut, Kubrick himself was very dissatisfied with the film later, thinking that it was just a picture of "children in Graffiti on the refrigerator", there are rumors that in order to make the film "disappear", Kubrick did everything he could to buy film copies and even once created the illusion that the film had "extinct". Fortunately, Kodak had A copy is specially kept in the company's archives, so that Kubrick's feature film debut can be preserved, and people in future generations can witness this darling abandoned by "God". The story of [Disturbance and Desire] is like a fable: a forest, two forces, four soldiers. It could be any battle, any army, any helpless soldier, engulfed in a predicament, dominated by fear and desire, and self-destructed. In Kubrick's work, this " The tragedies of human beings being led to extinction by fear and desire” are constantly happening, such as [full metal casing], such as [The Shining]. The film presents the pessimistic and negative side of human nature by showing the conversations, struggles and contradictions between four soldiers with different personalities who unfortunately fell behind enemy lines. The film opens with a poem, which leads to this whole unspecified story. The panning shot at the beginning of the forest scene is mysterious, and the jungle seems to be full of danger and anxiety. The four soldiers (Lieutenant Coby, Sergeant Mike, and two soldiers, Fletcher and Sidney) landed on enemy positions in the crash, desperate to get back to safety. The whole film shapes the characters' personalities through the dialogue of the characters, such as Coby, who is always calm and philosophical, Mike who is tough and alert, Sidney who is naive and vulnerable, and Fletcher who is quiet and smooth. In the scene from the crash site to the river, Kubrick focused on showing the already boiling hearts beneath the seemingly rational appearance of everyone by adding an inner monologue between the characters' marching -- speculating on the thoughts of his companions, thinking about the possibility of death, fear of being discovered by the enemy, relying on shouting To strengthen the belief that has begun to shake - full of despair and distrust. Kubrick made up for the lack of editing and performance through excellent photography. The sense of incongruity caused by the deliberate and immature editing in the performance was covered up by the strong visual effect. The switched close-up and medium shots, as well as the subjective shots that are widely used in order to increase the sense of substitution, are very suitable for the depressing and conflicting temperament of the whole film. In the section of the hut in the forest, the scene alternates between Mike's fierce face, the painful expression of the enemy soldiers, and the food that was knocked to the ground. After a while of entanglement, the enemy was killed. Coby, whose guns were put away, and Sidney, who was still in shock, both ended the killing and laid the groundwork for Sidney's collapse. In the subsequent plot, the scene where the fishing girl is alone with Sidney finally leads Sidney to madness. Sidney's attitude towards the girl is changed from the initial pity to a certain desire. He shows possession of the girl. , but eventually shot the girl because of her attempt to escape. The close-ups of the faces of the characters appear more frequently in the film, and most of them reflect the negative side of human emotions - Mike's disdain for Coby, Sidney's panic throughout, when the girl confronts Sidney As for the close-up shots of death, ferociousness, madness, and cruelty, the whole film is shrouded in this negative emotion, and together with the poetic lines, it creates a strange and psychedelic atmosphere. Back by the river, Coby and Fletcher saw the raft emerging from the fog, on which sat Mike, whose life and death were uncertain, and Sidney, who fell into madness. The fear and desire in human nature inevitably led them to the spirit. (Sidney) or the end of the flesh (Mike). It is worth mentioning that the two actors who played Coby and Fletcher also played the role of the enemy general and adjutant. When Coby killed the enemy general, he saw a face similar to himself, and The forest that reappears at the end of the film seems to indicate that human beings are repeating this self-destructive journey endlessly. Published in the March 2014 issue of "Watching Movies Midnight" , The painful expressions of the enemy soldiers and the food that was knocked to the ground alternated repeatedly. After a while of entanglement, the enemy was killed. The camera showed Coby who was slowly putting away his gun and Sidney who was still in shock. An end to the killing and a foreshadowing of Sidney's collapse. In the subsequent plot, the scene where the fishing girl is alone with Sidney finally leads Sidney to madness. Sidney's attitude towards the girl is changed from the initial pity to a certain desire. He shows possession of the girl. , but eventually shot the girl because of her attempt to escape. The close-ups of the faces of the characters appear more frequently in the film, and most of them reflect the negative side of human emotions - Mike's disdain for Coby, Sidney's panic throughout, when the girl confronts Sidney As for the close-up shots of death, ferociousness, madness, and cruelty, the whole film is shrouded in this negative emotion, and together with the poetic lines, it creates a strange and psychedelic atmosphere. Back by the river, Coby and Fletcher saw the raft emerging from the fog, on which sat Mike, whose life and death were uncertain, and Sidney, who fell into madness. The fear and desire in human nature inevitably led them to the spirit. (Sidney) or the end of the flesh (Mike). It is worth mentioning that the two actors who played Coby and Fletcher also played the role of the enemy general and adjutant. When Coby killed the enemy general, he saw a face similar to himself, and The forest that reappears at the end of the film seems to indicate that human beings are repeating this self-destructive journey endlessly. Published in the March 2014 issue of "Watching Movies Midnight" , The painful expressions of the enemy soldiers and the food that was knocked to the ground alternated repeatedly. After a while of entanglement, the enemy was killed. The camera showed Coby who was slowly putting away his gun and Sidney who was still in shock. An end to the killing and a foreshadowing of Sidney's collapse. In the subsequent plot, the scene where the fishing girl is alone with Sidney finally leads Sidney to madness. Sidney's attitude towards the girl is changed from the initial pity to a certain desire. He shows possession of the girl. , but eventually shot the girl because of her attempt to escape. The close-ups of the faces of the characters appear more frequently in the film, and most of them reflect the negative side of human emotions - Mike's disdain for Coby, Sidney's panic throughout, when the girl confronts Sidney As for the close-up shots of death, ferociousness, madness, and cruelty, the whole film is shrouded in this negative emotion, and together with the poetic lines, it creates a strange and psychedelic atmosphere. Back by the river, Coby and Fletcher saw the raft emerging from the fog, on which sat Mike, whose life and death were uncertain, and Sidney, who fell into madness. The fear and desire in human nature inevitably led them to the spirit. (Sidney) or the end of the flesh (Mike). It is worth mentioning that the two actors who played Coby and Fletcher also played the role of the enemy general and adjutant. When Coby killed the enemy general, he saw a face similar to himself, and The forest that reappears at the end of the film seems to indicate that human beings are repeating this self-destructive journey endlessly. Published in the March 2014 issue of "Watching Movies Midnight" Seeing the raft appearing from the fog, on which sits Mike, who is uncertain of his life and death, and Sidney, who has fallen into madness. The fear and desire in human nature inevitably lead itself to the spiritual (Sidney) or the physical (Mike). end. It is worth mentioning that the two actors who played Coby and Fletcher also played the role of the enemy general and adjutant. When Coby killed the enemy general, he saw a face similar to himself, and The forest that reappears at the end of the film seems to indicate that human beings are repeating this self-destructive journey endlessly. Published in the March 2014 issue of "Watching Movies Midnight" Seeing the raft appearing from the fog, on which sits Mike, who is uncertain of his life and death, and Sidney, who has fallen into madness. The fear and desire in human nature inevitably lead itself to the spiritual (Sidney) or the physical (Mike). end. It is worth mentioning that the two actors who played Coby and Fletcher also played the role of the enemy general and adjutant. When Coby killed the enemy general, he saw a face similar to himself, and The forest that reappears at the end of the film seems to indicate that human beings are repeating this self-destructive journey endlessly. Published in the March 2014 issue of "Watching Movies Midnight"
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