Bruges is a beautiful Belgian city and an ancient city well-preserved. It should be a model of Belgian style, not the internationalized Brussels. Bruges is known as Little Venice, but it is not as commercialized as Venice. Many of the scenes that appear in the film have just been there, so they resonate: such as the scenery by the canal and the boats, the colorful houses on the square and the high bell tower. , The Church of the Holy Blood with the blood of Jesus... Here are a few screenshots in the film compared with my real shots in Bruges. The angles of the photos are not the same, but they can be recognized as a place.
[Picture: http://www.saoyuying.com/2011/11/in-bruges/ ] The
film is unveiled from a poignant piano melody, which then runs through the entire movie, or is repeated with wind music, or Singing in a baritone, melancholy and cold, poignant and graceful, brings out the two major characteristics of the film: the beautiful scenery of Bruges and the coldness of the British.
Yes, this is a British film shot in Bruges, Belgium. The British are characterized by coldness and black humor. You can see their unique perspective from the sceneries at the beginning of the movie. Please see this serene dog:
the protagonist of the film, Ray’s actor is Colin Law Riel, an Irish actor who looks a lot like Brad Pitt, especially promotes Buppi's stupid and embarrassing side. In this film, he often raises his eyebrows and has a silly, thick Irish accent. Such an image is a young killer, and can be described as an absolute turtle-class life treasure. The actor of the male number two Ken, Bradan Gleason, is also regarded as a veteran British actor. He is an older killer, and he has a humanistic feeling in addition to killing people.
Such two killers, one old and one young, naturally have a lot of joy in sightseeing in the beautiful scenery of Bruges. One admires this peaceful and beautiful city and its rich historical heritage, the other firmly believes that this is a shithole.
And the male number three Harry (Ralph Fiennes) is even more representative of yin and yang. The super-long sentence composed of fxxk, which is full of verbs, nouns, adjectives, and adverbs, is his typical way of expression. He still adheres to some inexplicable rules, the most obvious of which is to kill casually, but kill The child must pay for his life.
In addition to the three male protagonists, women are also indispensable in this film. Compared with the female No. 1 who Ray played in the opposite role, I prefer the elegant and beautiful hotel lady who is absolutely comfortable and has no American tackiness. At the critical moment, she also showed her integrity and strength, which made her more beautiful.
The cold-hearted Britons are naturally indispensable for their harsh and cold humor. In the film, the British discriminated against obese Americans, and recorded their hatred on the account of the American shooting and killing John Lennon, teasing over-environmental Canadians, Belgians who have had child abuse scandals, and Belgium. Human English accent (I heet/hit the Canadian?). Of course, I don’t forget to make a mockery of a certain city in the UK (Tottenham? I have a grudge against the director), repeatedly and nonsensically mentioning aggressive Vietnamese, and when chasing and killing each other, they have to negotiate to ensure that they will jump in. At the canal, I did not forget to compliment "Bruges is so beautiful, if I were not in Belgium, it would be fine."
There are many dialogues in the film that reflect this cold feeling:
"You're from America?"
"Yes. But don't hold it against me."
"I'll try."
Ken's dialogue with a dwarf. The inferiority of a dwarf does not lie in being a dwarf, but in his American identity.
Harry (Ralph Fiennes) smashed the phone into anger, and his wife came in and said, "It's an inanimate fucking object." The
furious Harry cursed, "You are an inanimate fucking object!"
I apologized afterwards and emphasized again that "I'm sorry for calling you an inanimate fucking object"
this way of repeatedly chanting swear words can be seen elsewhere. Ken and Harry scolded each other's children:
Ken:Harry , let's face it.And I'm not being funny, I mean no disrespect, but you're a cunt.You're a cunt now, you've always been a cunt.And the only thing that's gonna change is you' re gonna become an even bigger cunt.Maybe have some more cunt kids.
Harry:Leave my kids fucking out of it.What have they done? You fucking retract that bit about my cunt fucking kids!
Ken:I retract that bit about your cunt fucking kids.
Harry:Insulting my fucking kids! That's going overboard, mate!
Ken:I retracted it, didn't I?Still leaves you being a cunt.
Harry:Yeah, I fucking got that. The
black body sentence is typical. There are other neurotic Belgians who are struggling with the word "Alcove" and other plots.
But this kind of humor is not full of every corner of the film, but the embellishment of the sad tone of the film. In fact, this movie also has a Chinese name called "The Killer Has No Holiday". As the plot progresses, this tragic and melancholic atmosphere has become more and more intense, and the human nature in the hearts of several killers and their identities and experiences continue to conflict. Ray's pain is his first job's fault, and it can't be remedied anyway. The deep self-blame and anxiety are actually the root of this stupid nerve. Ken has been a killer for half his life and seems to have long been numb, but the admiration for beautiful things that he occasionally arouses still touches him from time to time, and the latest command of the boss has plunged him into a deep contradiction. Harry seemed cold and ruthless, but he was actually a tragic character. He was enslaved by his own rules. He was used to suppressing his true feelings and suppressing others. His last happy vacation was at the age of 7, in Bruges. The film did not discuss these in detail and rationally. It just made the audience feel their inner sorrow and blended into this cold and beautiful Christmas in Bruges.
This film uses a very characteristic background blurring technique to process the picture, which not only romanticizes the city and the story, but also highlights the inner conflicts of the characters:
this kind of beauty runs through every detail, and it is killer. There is nowhere to escape the tragic fate. The film ends when Ray looks up at the snow falling in the Christmas night sky in Bruges. The heroine mentioned in the film that "there hasn't been a good movie about Bruges", and now there is it, this is "In Bruges", or "The Killer Has No Holiday".
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