Audiences who have watched the movie know that "Miss" is still about (female) revenge, which is Park Chan-wook's favorite and best subject. Park Chan-wook belongs to a director who only makes one movie in his life, and his movies are basically variations on the same theme. Therefore, "Miss" seems to be adapted from Sarah Waters' "Fingersmith", but it is completely Park Chan-wook's personal style of film. He himself has stated that the film is not "Base on" (based on) the original, but "inspired by" (inspired by) the original. This film tells the story of three people, combined in the way of two, two, two, divided into three parts. The first part, from the perspective of the maid Shuji, tells how she deceived the young lady with the male protagonist "Japanese fake count" Fujiwara, and finally she was deceived into a lunatic asylum. The second part, the perspective of "Miss" Hideko, reverses the first part, explaining how the lady and the false count conspired to deceive the maid. The third part, the perspective of God, is reversed again, explaining how the young lady and the maid conspired to deceive the false count. The second part is a reversal of the first part. It is the most exciting, the story is gradually clear, and the audience is getting better. However, in order to ensure the reversal power of the second part, the first part adopts a limited-knowledge perspective, which is a bit cloudy. Once the reversal of the second part is successful, the story of the third part is too straightforward, with only the result and no suspense. There is a line in the movie, said by the perverted uncle, "I just like the old man with dirty stories", I think this line can be used as a portrayal of director Park's life with a little modification - I don't just like dirty Dirty story old man. Because in addition to the story, he is also a stylized writer. Park Chan-wook doesn't seem to be working on story lately (the last movie "Stoke" was also unintelligible), but rather on style. The strong personal style makes the film still have something to watch when the story is a little weaker, unlike my Chinese directors, once the story is broken, it's over. What attracts me most about "Miss" is the "axis" in the composition (the national character of the country is just one word: axis! Students who like Korean movies should feel the same way. Note that the "axis" here is entirely a compliment). The symmetrical composition used in this film is too much to be deliberately ignored, so that it forms a style that is clearly different from other directors. Start with a few screenshots below. First, there are empty shots.
Second, the single shot.
Third, double shots.
Fourth, multiple shots.
I lied to you, it's actually a lot of screenshots. . . How about, did you watch a movie and learn how to take pictures by the way? o(^▽^)o. . . So why does Park Chan-wook use so many symmetrical (or balanced) compositions? First of all, from the story level, the director told a very evil story. The normal revenge story develops to the end, usually the victim and the perpetrator kill each other face to face (you can think of Quentin Tarantino's "Kill Bill", which is also a female revenge, how did he arrange it), but here It's all conspiracy and frame-up. Therefore, Director Park's paranoid choice of a very correct symmetrical composition obviously has his own unique ingenuity - using the contrast of form and content to enhance the effect of the narrative. Secondly, from the character level, the characters in it all seem to be well-dressed and virtuous, but none of them are doing the right thing or taking the right path. Especially the passages that talk about prostitution. The irony of this strong contrast is even stronger when the heroine is dressed to occupy the absolute center of the symmetrical picture (from the big panorama to the close-up of the head), and she narrates her lustfully and vividly. Similarly, the group of male audiences in formal clothes who "sit in rows and eat fruit" look very positive on the screen, but they feel very evil to the audience. I remember Wang Fuzhi’s poem in Jiangzhai Poems: “Writing sadness with a happy scene, writing music with a sad scene, and multiplying the sadness and happiness.” In fact, the methods of literature and art are all the same, and we can apply it here, “Writing with Zheng Zheng Evil doubles its evil", isn't it? The fun of watching a movie is not only in the most superficial story, if you can see the little secrets of the director's audio-visual language, the fun will be doubled! Finally, I would like to remind everyone that the heroine who plays Xiuzi is called Kim Min-hee, who is the new love of director Hong Sang-soo. Hong Sang-soo was not willing to do to Kim Min-hee in "Right Now", Park Chan-wook helped him It's done, eh! Goodbye. WeChat public account: Movie pull room, don't pay attention.
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