First of all, what impresses me most is the use of genre elements in this film. The whole film is based on absurd sense of humor, and the use of comedy elements is quite good. It can be seen that the director has done a relatively in-depth study on the presentation of classic comedy films. He hardly uses lines to "speak" jokes, but solidly creates a sense of comedy through comedy actions and pictures. For example, Bae Doona and her fat best friend saw the scene where Lee Sung Jae threw a dog on the rooftop. Previously, the fat best friend said "This telescope is very expensive." After that, Pei Doona was frightened and threw it away. After the two rushed downstairs together, The camera showed the two running side by side, and then the fat best friend suddenly made a flexible hurdle and flew into the grass, while Pei Douna ran to the opposite building to catch the murderer.
In addition to the dramatic elements, this film also uses a horror element. In the scene where Lee Sung Jae was hiding in the broken wardrobe, he first gave him a horrified expression when he opened the wardrobe. The audience thought he saw the tragic state of the dead dog. Forced to hide in the closet helplessly. The atmosphere of "being in the same cabinet" with the dead dog was faked here, but it was quickly explained that the dog was stewed by the administrator. Later, the administrator also told a "standardized" ghost story. I feel that the language of the shots here is a little monotonous and the rhythm is a little procrastinated. For lovers of tenth-level horror stories, this story is really a bit routine, but it still plays a role. 's meaning.
As director Bong Joon-ho's feature-length debut, this film can already see many of his unique features, while at the same time showing the edge and attitude of a young director. The film has been praised for building a "clear social model". We can see that this film analyzes and displays multiple angles of different classes through multi-line narrative, and the relationship between laying out and mapping is relatively clear, showing Feng Junhao's theoretical skills as a sociologist.
The specific expression of class and society in this film will not be described in detail here, but it is worth noting that among the characters shown in this film, the director gave most of the warmth to the lower-level young people represented by Pei Doona and fat girlfriends. They are poor, confused, and eager to turn over. Although the director does not completely portray them positively in the film, they have a unique softness and even a hint of romance in their plots.
At the end of the film, when the subtitles are over, Pei Doona holds a mirror and reflects the sun's light towards the camera, as if saying "Take care of yourself".
Finally, the authenticity of the characterization is also admirable. Among the intricate character relationships, there is a behavioral logic that conforms to each person's unique personality, and the settings of each group of character relationships are also unconventional. Just like the relationship between Lee Sung Jae and his wife, it was shaped into a mother-son model. Lee Sung Jae earnestly compared 50 or 100 to the truth. There was also the quarrel at home after the dog was lost. Lee Sung Jae complained that everyone else became Professor, as if he didn't do it himself, it's like saying "everyone else has that toy, why don't I have it!" and the wife's sentence "I haven't bought what I want for all these years." Deep and real.
After writing here, look at Feng Junhao's fat face, sigh, and the study is over.
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