According to the "Dictionary of Cinematic Art" published by China Film Publishing House, the consensus of montageists is that the combination of shots is the source of the appeal of film art, and the juxtaposition of two shots forms new characteristics and new meanings. Montage thinking conforms to the dialectics of thinking, namely: revealing the inner connection between things and phenomena, and understanding the essence of things through perceptual representations.
The above is from Baidu Encyclopedia.
This movie reminds me of another movie, "Showa 64", where the same perpetrator and victim change their positions, and use their methods to take revenge on them. In the misplaced tragedy and revenge, the change and complexity of human nature are tested and presented.
During the long and painful torment, the victim developed a mentality of crime and revenge. In the same way, the perpetrators have also recovered the bright and beautiful side of human nature in a long time. But it cannot be said that the tragedy of that year has been forgotten, the perpetrators have been redeemed, the victims have chosen to commit crimes, and they have reversed right and wrong. On the contrary, the more bizarre and bizarre plot revealed that the aftershock of the tragedy on both sides never disappeared.
What is impressive is that this film splices the kidnapping tragedy 15 years ago and the girl kidnapping 15 years later. Thus, these two very similar cases present a mutually corroborating relationship. Let the same criminal technique drive the inner logic of the audience: this must be another case done by the same murderer.
However, this montage's masterful technique ultimately points to a 15-year-old hidden connection and role inversion between the perpetrator and the victim. In the unremitting tracking and deep excavation of the lone police detective, the victim 15 years ago became the perpetrator 15 years later, and the deep reason behind it made the crime a wake-up call, constantly beating on the police who became a bureaucrat. their hearts. Because 15 years happens to be the longest statute of limitations for a murder case. Behind this case, which has been withdrawn and forgotten 15 years later, is the malfeasance of the police, the smile of redemption and the flowers celebrating the rebirth of the hidden perpetrator.
This tragedy of shelving unsolved cases has once again deconstructed the authority and justice of law enforcement.
As the name of the film does, in the splicing of various lens clips, the relationship between appearances is established, thereby revealing the complex and profound essence of human nature. This complex and profound nature tells us what love is and what hate is. A mother's love and apology for her dead daughter, after 15 years, has turned into revenge for social injustice and indifference, which requires the happiness of the perpetrator as a sacrifice. The perpetrator's love for her daughter and saving her life resulted in the innocent death of another girl. It turned out that the two kidnappings happened in the name of love. And 15 years, could not change the logic of love hidden in the depths of cruel appearance. The murderer finally confessed the crime of the year in the logic of love, and the mother who succeeded in revenge also completed the best memorial to her daughter in the logic of love.
In "Showa 64", the victim's father and some former investigators teamed up to create a similar kidnapping case, and it was the murderer's daughter who was kidnapped. It was the victim's father who discovered the clues of the murderer from the tens of thousands of calls made in the phone book of the vast sea of people over the years, and identified the murderer's voice from it, because he would not forget the murderer's voice when he died.
As a successful action and suspense film, this film is a good combination of various wonderful elements. The rhythm is tense but not chaotic. The ultimate truth of the two cases is peeled off through the setting of various details. Organize emotions like revenge, atonement, love, and justice. Time is no longer a surging wave that takes everything away, but is more like an old wine.
A great movie is inseparable from a good story. And a good story needs one or several kinds of internal logic that are simple and easy to understand but never rough and perfunctory. Whether it is the logic of love, the logic of hate, the logic of revenge and the logic of redemption, the logic of justice or the logic of evil. When the various logics are connected in series, parallel or intertwined, brilliant editing and masterful splicing are required to form a stunningly ingenious structure, so that the whole story presents a polyphonic and complex look and feel. And such a fascinating look and feel not only impresses the audience, but also presents a profound theme and a certain essence of the world. In the interpretation of these complex but not chaotic logic, the film will bring satisfaction and cause thinking, just like the effect caused by symphony.
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