Train to Busan is a commercial film with a very high degree of completion. The narrative follows almost exactly the three-act play structure. The sanitizing station and the resurrected deer at the beginning are a prelude. After the feature film started, the male protagonist decided to escort his daughter to Busan. The short set up completed the basic description of the male protagonist's character and the fact that there was little relationship between father and daughter.
After that, the first infected person bit the conductor and caused a big riot. The male supporting role and the pregnant wife were almost locked out of the safe carriage by the male protagonist, which was the first turning point. The protagonists are thrown into terrifying anomalous events from the everyday world they are accustomed to. There is a clear set of contrasts here: the male lead who is strict with his wife and nosy, and the male lead who loves his daughter but doesn't know her at all. Conflict also changes from zombies/humans to male lead/male lead, male lead/ Daughter three lines. Later, the passengers thought that Daejeon's army could save them, but found that Daejeon had fallen. In the chaos, the male protagonist, the male supporting role and his wife and daughter were separated. The original narrative lines (one male lead, one father and daughter, one male supporting couple) were successfully reorganized. The three took advantage of the zombies' lack of smell and low IQ to rescue their wives and daughters and fled all the way to the carriage where the uninfected passengers gathered.
Then came the second turning point: the passengers there refused to open the door, intending to watch them be bitten to death. After the baseball boy broke the glass, the passengers drove them to the freight car again. Pregnant wife to male lead. Obviously, the focus of the conflict here has transitioned from the outside to the inside, that is, the male protagonist has to fight against zombies and fight against his original concept of death. A clever trick here is to design an "inner response" between the protagonist and the other passengers - the baseball brother's girlfriend and the old woman's sister - they break the isolation of the space, so that the characters' point of view narrative does not violate logic. At the same time, these two characters also have their own missions. The girlfriend will be killed by a certain villain later, responsible for creating a melancholy atmosphere, and the younger sister is even more fierce, she directly opened the door of the isolated compartment, zombies poured in, she and the victim The dead sister's people perished together, and the narrative logic of "karma" was overflowing with emotion. After that, the original high-speed rail track was blocked, the male protagonist and others were transferred, and they were almost wiped out. Another homeless man (the pig farmer in the prelude) who seemed to be dragging down the team finally chose to block the zombies for a few seconds, so that pregnant women and Children flee. Almost all the special effects of the whole film are used here, and the expected large-scale zombie surging scene also appeared. At this point, the inner conflict has basically been resolved. There is no doubt that the sacrifice of one teammate after another has made the male protagonist make up his mind. Echoing this change, the villain uncle escaped by feeding the zombie teammates all the way.
Finally, climax, the villain's uncle turned into a corpse, the male protagonist was accidentally bitten during the fight, and jumped off the train in order to let his daughter and pregnant woman reach Busan safely. For the male protagonist, this is the resolution of the inner conflict and the outer conflict at the same time. In the ending, I thought I could expect my daughter and pregnant woman to be shot to death by the army, but I didn't expect the woman's nursery rhyme (story prop) to appear for the third time and save the two.
The story of Seoul Station is not so delicate in comparison. The more impressive one seems to be a big reversal of the ending, but some settings can still feel that a lot of thought has been spent. For example, the old man who was bitten at the beginning fell into a situation of being ignored because he was homeless, which objectively led to the fermentation of the incident; the change in the character of the heroine’s boyfriend seemed to arouse some of his heroic spirit in the process of fighting against zombies. Although it is completely useless; the irony of the sports elder brother who died to save the heroine (the heroine had been scratched at the time); the killing and rape scenes in the exquisite and generous model house, the same as the subway station The comparison of the sleeping groups; of course, the army of zombies and civilians. I am not at all against the crudity of the animation style, but the problem with this film is that the body movements of many characters are completely inappropriate (for example, the characters climbed down from the water pipe, and the feet did not clamp the water pipe), and the dubbing was more frequent. Not mouth-watering. The heroine and her boyfriend are not likeable characters. They are cowardly, incompetent, and pit teammates. On the contrary, the character of the fake father is very interesting. He didn't even want his life for money, and worked all night for the heroine and zombies. Is it really just to ask for money to arrest the heroine and go back to prostitution?
One problem is that the heroine's ability to resist infection is too strong. In the home appliance isolation belt, a person was bitten a little bit by a zombie, and the attack occurred soon. The heroine was scratched on her foot, but she persisted until the end of the film. Because of the existence of the former, it cannot be said that only after death will cause corpse transformation.
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