While director Guadagnino claims he has no idea of a remake at all, just a personal re-expression, his small (maybe big?) ambitions to revive the fading Italian leady films of the 1980s are impossible not to be aware. The original version of "The Storm" is the first part of Arkinto's "Mother Trilogy", which mainly tells the story of "Mother of Sighs". The three films should be read together to understand the story of the "Three Witches" born out of British romanticism. Director Gua did not clearly explain the concepts of "mother" and "witch" in this film, so the new version of "The Storm" It's a huge obstacle to understanding the plot.
Italian lead yellow film developed in Italy in the 1960s, with mystery, women in danger, elaborate suspense, sex and violence, blood plasma, exciting and vivid visual colors, preference for murder and death, sharp Weapons pierce the body and even feature a touch of supernatural elements. In the new version of "The Storm", the most obvious is the lack of psychedelic and bright audio-visual language. Gua Dao insists on his own aesthetics, that is, the presentation of the well-arranged still life format, but there is no such thing as a large number of closed darkroom scenes. Any painstaking scheduling of light and color. The characters in front of the dark background are doing the behavior of "escape-chasing", which is invisibly making extremely high requirements on the brightness and quality of the cinema screen.
It is also regrettable in the shaping of suspense and thriller. The director is obsessed with destroying and distorting the joints of women's bodies to create physical discomfort, but it doesn't help the overall horror atmosphere. In addition, there are too many unnecessary and disgusting dream scenes, no metaphors, just unnecessary large-scale filling.
As an Italian, Gua Dao uses the new version of "The Storm" to convey just a re-calling of the social background of the prosperity of the lead-yellow film in the past (that is, the social fear under Italian totalitarianism), focusing on the statement of the historical background, involving Private destiny and political metaphors run counter to the original feeding and impact of pure lead-yellow films on visual psychological pleasure.
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