Happy pickpocket prodigal son turns back

Tressie 2022-03-26 09:01:10

Moral Labyrinth. The first half is a conceited "Superman" who has no life coordinates. He makes a living as a pickpocket and can do it with ease. The latter part is about finding a direction because of love, and being caught stealing for love. The Horse Thief is similar to this. Movies can objectively observe the fierce battle between people's sense of morality and outlook on life, but the subjective and harsh social laws in real life do not allow such moral experiments.

Owen 2022-03-25 09:01:15

1300, an impeccable masterpiece. The narration design of this film is extremely delicate. Until the diary shot in the second half, all the narration is the content of the diary. At this time, the narration is a transcendental description (diary), and so is the shot (waiting for me to appear). This combination of description and imagery creates a sense of superfluous repetition and also establishes the effect of alienation. After that, the narrator lost the ability to describe the situation (there is no longer a diary after the arrest), and changed back to a psychological monologue. The audience, like the protagonist at this time, lost their pre-prediction of the story, and a sense of tension arises spontaneously. Later in the prison shot, the camera and the protagonist roll towards the door, expecting the voice-over protagonist. At this point the camera is no longer transcendental, but becomes the externalization of the psyche of the protagonist, as is the music. So the last shot is so moving, the composition pulls the heroine into a cage, the camera pulls from the middle ground to the only close-up of the face, and in the passionate soundtrack, our psychology is completely integrated with the hero. This is the perfect movie where every part is fully utilized.