At the beginning of the film, an animation composed of Jacob Lawrence's tempera works explains the social injustice faced by black Americans during the period of immigration to the north: residential segregation, employment, and discrimination in the judicial system. The fuse: In the early morning of July 23, 1967, the police searched a bar that was operating illegally in a black area. The bar was holding a party for two Vietnam War veterans that night. The police decided to take away all 82 people present. In the process, the director added a fragment that was not known to be completely true: a black policeman took a customer into a separate room and closed the door. The police slammed the wall with a chair, and at the same time the customer pretended to be screamed tacitly. The customers outside were obviously frightened when they heard it. This segment, the so-called "game", paved the way for the core events described in the subsequent film. Just when the 82 people got into the police car one by one, many onlookers appeared on the street, yelling to protest injustice. A person threw a glass bottle at the police, the riot kicked off, and the smashing, looting, and burning started on 12th Street. The story then proceeds from three seemingly unrelated perspectives: Police: Then we switch to the perspective of a white policeman, Krauss (played by Will Poulter). In a mess on the street, Krauss shot from behind a black man who was suspected of stealing from the shop while taking advantage of the chaos. He was interviewed by the police for this time. At this time, the first "villain" of the film defended his crimes: just stealing will not run away, do not shoot them (black people. "They, we" are the names for blacks and whites that have appeared many times in this film). Will be scared. . . After the police detective listened to these racial discrimination speeches, he only gave a look that cared for the mentally retarded: don't come to this set. The first major accident in the film appeared. At least in my impression, in the past, and even now, the police adopted a biased and sheltered attitude towards police violent enforcement against blacks. However, the film was far from this extreme angle from the beginning. Singer: The main perspectives of the film, larry and fred. The two were unable to perform on stage or go home due to the riots, and came to Algiers Motel. The black residents were drinking and having fun here, but nothing happened outside the Buddha. The two protagonists and two white girls from ohio flirt in their friends room. One of them used a toy gun to pretend to shoot the other for fun. At this time, the audience did not know that it was a toy gun, and felt the excitement of the suspense, which also warmed up for similar suspense in the future. It was this toy gun that brought a nightmare to the people in the room. Security guard: I watched the store in the supermarket and rescued a black guy from the police, but he was called "uncle tom"-a type of symbolic crowd that often appeared in black movies: being seen by other blacks as pleasing to white people, and wanting to get along The whites cooperate with the blacks. It is usually an insulting joke. Calmness and cooperating with the police/military is the biggest characteristic of this character: pour coffee to the national guards to prevent being shot. In a prank, the toy gun rang in the direction of the police, and the independent narratives of the three groups merged together. The core and climax of the film are repeated, endless intimidation, violence, and abuse scenes. Marathon abuse is also a test of the audience's spirit. However, one of my big questions is, did no one think that what the police heard was a toy gun? Why has no one explained the toy gun thing? Although this explanation may not help, after all, the first conflict was the death of the owner of the toy gun, and the subsequent abuse was mainly caused by finding a gun to exonerate the first shot. But in the tense rhythm of the film, and under the premise that the historical film has a certain ending, I still have a fluke. There are passing state police and national guards on the way. Some people were dissatisfied with this violence, but they did not stop it. Someone also let Larry go and took him to the hospital. The film’s explanation of Krauss’ atrocities seems to lack system and historical reasons. After all, we can see many good people in the military and police systems in the film. The role of Krauss seems to be violent and extreme racial discrimination. Many performances even make people feel like watching a thriller of a perverted cold-blooded murderer. (Even Will Poulter’s eyebrows robbed the scene with a perverted aura...) Even his colleague refused to shoot "game" at first, and after he really killed someone, he said with a sigh of relief, it feels okay. Without history, the evil villain is clearly incomprehensible to the audience. The subsequent stage of the court trial was brought up briefly, and the director also admitted that he did not want to shoot judicial subjects. But the acting moment in my heart is in this chapter: the detective interrogates the security guard and asks whether he committed the shooting at Algiers Motel. At that moment, the security guard did not even refute angrily. Instead, his hands trembled and his eyes lost focus, leaving cold sweat. The performance here is very wonderful, at that moment, I also felt deep despair. A black man who has always maintained rationality and racial exchanges, if he tries to appease the police and save his compatriots, he will be treated as a scapegoat for shooting his compatriots, perhaps he is so desperate that he can't make a sound of resistance. However, in the end he still sat in the dock. It is true that the film's portrayal of the large historical background stays in the short animation at the beginning. Even the title detroit is misleading, and Algiers Motel is obviously more appropriate. A lot of knowledge about this riot, such as the economic background, and the subsequent black movement, can only be learned from other sources, not the movie. Like the hunting of bin Laden by the bomb disposal unit, this film still focuses on the director's ability to portray violent conflict, action, and tension. The greatest significance of "Detroit" is not in history education, but in taking the audience to experience the hell that Algiers Motel victims walked through that night in two hours, and perhaps it is a kind of time, race, and region Empathy adds a little bit of possibility. Like the hunt for bin Laden, this film still focuses on the director's ability to portray violent conflicts, actions, and tension. The greatest significance of "Detroit" is not in history education, but in taking the audience to experience the hell that Algiers Motel victims walked through that night in two hours, and perhaps it is a kind of time, race, and region Empathy adds a little bit of possibility. Like the hunt for bin Laden, this film still focuses on the director's ability to portray violent conflicts, actions, and tension. The greatest significance of "Detroit" is not in history education, but in taking the audience to experience the hell that Algiers Motel victims walked through that night in two hours, and perhaps it is a kind of time, race, and region Empathy adds a little bit of possibility.
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