There is nothing to talk about in the whole film. This is exactly the director's cleverness. If you have to look for highlights, then this film's authenticity and rigorous special tactics consultants are indispensable. Now let us briefly extract a few details that are easily overlooked during the hostage rescue phase of the film to appreciate Greengrass' old ways.
The U.S. Navy’s Aegis-class guided-missile destroyer "Bainbridge" (DDG-96), the frigate "Haliburton" (FFG-40) and the amphibious assault ship "Boxer" (LHD-4) that participated in the rescue operation For the original squad, the appearance of these three real warships immediately killed Michael Bay, who claimed to be able to mobilize the assistance of the US military during the filming-this idiot who actually used the destroyer of the 1980s as the background shot of the Japanese bombing when shooting "Pearl Harbor". The appearance of the anti-terrorist pioneer SEAL team 6 is also in line with actual combat history. When the special forces were delivered by a transport plane over the mission sea area, they used the famous HALO skydiving tactic to shorten the time spent in the air and reach the mission area as soon as possible. You can see it in the film. When the special forces use the radio to contact the command center, and at the same time use the altimeter to indicate the time to open the parachute; the AOR-1 combat uniforms worn by the special forces and the SR-25 rifles used for sniper missions are also the standard configuration of the SEAL Team 6. Commando The commander’s restrained performance restored the actual situation of the most real special operations: special operations do not have so many explosions and fierce gun battles, but rely on accurate intelligence to achieve a winning blow in just a few minutes. At this point, both Greengrass and Bigelow are very rigorous and sophisticated directors, and they will definitely hire retired military professionals to guide them in film tactics and provide a satisfactory answer to the authenticity of special warfare films. Including the image data transmitted by the P-3C anti-submarine aircraft to the fleet in the film, the SH-60S helicopter hovering over the lifeboat at low altitude to create flocculent flow and consume the lifeboat fuel. Although only a few seconds, it has highlighted the rhythm and details of the film. control.
In such a documentary film, the director's ability completely affects the success or failure of the film. Bigelow and Greengrass are both directors who are good at using actors to design various inconspicuous joints for the film in the seemingly dull and mediocre plot, so as to lay the groundwork for the development of the plot, and show through the detailed performance of the actors. The psychological activities of ordinary people in conflicts make a true story more authentic in the calm, and it is easier to earn the favor of audiences and film critics. During the twelve-year war on terrorism in the United States, people’s distrust and negative sentiments toward the government, powerful departments, and the military have increased dramatically. Sitting in front of the screen, following the director’s language and rhythm, they discovered those involved in the conflict. However, the parties involved are just like ordinary viewers. They are ordinary people with flesh and blood, families and feelings. Whether these people are cruel killing machines undertaking military tasks or victims who have been affected by the war, they are all due to their own Professional needs but helplessly accept various tasks, and bear all the collateral damage of wars and conflicts-as the audience recognizes and understands the transformation of the protagonist’s identity in the film (real people), the emotion and value output conveyed by the film can only be achieved. It really started to work. This is precisely the psychological mapping of the western people after years of immersion in democratic consciousness, and the reality that their deep psychological habit hopes to accept-they can only use open, democratic, and grounded mass media and cultural products. This channel, rather than the mainstream mouthpiece and the president’s television speech, which they believe is manipulated by the government and interest groups, accepts the value output, decision-making, and subsequent influence imposed on them by the government. The ironic thing about this logical paradox happened to be that Hollywood, a kaleidoscope, used the seemingly unassuming American-style theme movie to break the secrets of the heavens, thus penetrating the cultural value output of the Western world into the bones of the people more deeply. But the voices of real criticism and doubt are lost in the entertainment that has long been accustomed to, and they are quickly forgotten and dispelled.
When the painter Velázquez painted a portrait of Pope Innocent X, the painter captured the gloomy and cunning inner world of the Pope through his superb skills and faithfully restored it on the canvas. After inspecting the finished product, the pope quickly flashed a trace of surprise on his face, and said approvingly to the painter: too much imagery.
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