The great performance is enough to bring a story of straight-line sliding back to life. In the second half of the film, when Philip is completely under the control of the pirates, there is only one goal left from the plot setting, which is the fixed point of Philip waiting to be rescued and how to be rescued. This kind of story model will not jump out of the audience’s assumptions and expectations about the ending. This is an embarrassing dilemma that both story listeners who are used to watching human dramas and film producers who have filmed human dramas face together, a mutual consumption of minds. Game.
I wonder why the screenwriter of "Captain Philip" wrote the story so early on this passage. The pirate and Philip were locked in the lifeboat and approached the coast of Somalia at a speed of five nautical miles per hour. When I saw this, I was more watching how the director ended, how to walk the tightrope of the remaining half of the play. At least this is a mistake of the screenwriter.
Tom Hanks’ performance skills are to be revealed from now on. After getting on the rescue capsule, apart from the eventual character functions, he completely relies on the accumulation of personal roles to build Captain Philip’s psychological level in a closed performance environment. In the plot logic pointed to by the regulations, it is built layer by layer: 1. Philip left the freighter, he was no longer a captain, a chief mate and the leader of the crew, and the social attributes of the characters began to be stripped; 2. Adaptation to the rescue capsule The confined environment and the possibility of landing on shore; 3. Re-understand these pirates and reorganize the relationship with them; 4. Philip’s personality shell begins to soften; 5. The unsolvable reality of the dilemma and the attempt to bring humanity Belief is the last straw; 6. Continue to shrink inward to the self-purchasing of husband and father, which can also be said to be self-satisfaction; 7. Fuck and fight once; 8. This time is really over... These psychological levels are clear and clear. Accurate and all within the measure, at the same time, they are intertwined and layered, and Philip's strong sense of fate in the common pile up dilemma, opens up the audience's viewing channel, and saves the shortcomings of the drama.
Until the end, the confusion, confusion, gratefulness, rejoicing, confusion, aphasia, anxiety, fear and other complex and real psychological presentations when he was examined by a military doctor after being rescued, the clues are clear, and the texture is full and can be felt. Completing the deep excavation of the characters' hearts and the powerful revealing of the theme of the film by one's own strength, compared with the Chinese actors who rely on hormonal mingling to perform big names, it really has a textbook-like demonstration significance. Of course, they don't admit it.
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