1. From the journey of Roh Moo-hyun, although South Korea's democracy is still built on the security and stability guaranteed by the US garrison, a plaything of the noble republic among several major families, but after all, it is an industrialized country in modern society, democratic. The bottom line is guaranteed. From this perspective, South Korea's social development has long been out of the shadow of feudalism, and it is a big step forward compared to Japan.
Having said that, in the play, the son of XX Construction said to the male protagonist: The condition for democracy to occur is that the per capita GDP triples, otherwise everything will be in vain.
In fact, he is right. In 1981, when the plot happened, the actual per capita GDP of South Korea was 565 US dollars. In 1993, Kim Young-sam, as the first democratically elected president of South Korea, had a per capita GDP of 1,488 US dollars.
This number is specifically mentioned here to let everyone keep in mind that, first, the economic base determines the superstructure. Second, all power is gained through struggle. Both are equally important.
2. Stories that happen in reality are always more moving and shocking than those in movies. But, for the filmmaker, his means of expression is through film. This experience of Roh Moo-hyun can be regarded as an important story in Korean history. If we follow the custom of ancient China, it must be written in the history. Koreans should be as familiar with this as we are with queue-jumping.
So how to express this story is the key point, the key point. We can find some of the mysteries from the settings of each character of the director and from the points of each plot promotion. Usually, in the process of characterization of all literary and artistic works, there must be a person's growth and change. Use various events to test him, and finally express the integrity and radiance deep in his humanity. This is one of the most traditional routines, whether it's saving Private Ryan or Schindler's List, or Iron Man, this is the most essential routine in literary and artistic works. In this film, the director's level is perfect:
By the way, the details! detail! detail! Details are the life of a movie! ! ! !
At first, Lawyer Song was very nervous when he went to see the boss. When he went upstairs, he had to bring a can of drinks, and he had to stop before knocking on the door. Then spread out the narrative of the whole story, the director did not tell the story of how the junior high school student started the judicial examination from beginning to end, but quickly opened up his success with a comparison. However, in the brief memory killing, two clues of the theme were pulled out: the bright line is the house of the sister-in-law who once ate Bawang's meal, and the dark line is the sentence written on the concrete wall of the room: Never give up!
Compare that to the tedious and promiscuous memoirs of a bad movie, and it's so high that I don't know where it went.
Sister-in-law Caitang has a lot of conversations. I use a meal with my colleagues to pave the way. Then I pick up the fallen lawyer Song at the class reunion, and then use the reporter and Xiao Xianrou to open the next paragraph. There is no false writing, the structure is compact and the rhythm It's stark, and it's time for a little climax in this place. How should I put it, good movies are like beautiful women. This just right rhythm and structure is like a graceful figure, which should be convex and concave.
With such a foreshadowing of wanting to promote and suppressing, with Mrs. Caitang as the main driving force, with the visit of the boss and the ambition to serve the country in the sailing boat, then when Lawyer Song rants about the court, you can feel that everything is logical.
As a boxer, when Lawyer Song forced Officer Che to roar, "The nation is the nation!" The Republic of Korea is the country of the Korean people! I burst into tears at that moment. Even though I know that when the real Republic of Korea becomes the Republic of Korea, its GDP per capita will triple, but in the movie, when the protagonist roars with a savage face, you have to follow him and you have to cry. This is a movie. Guo Degang said that if I want you to laugh, you can laugh. When will the film writer understand this truth?
Personally, I think that the two movies that Chinese directors should study the most at present, one is this defender. The other is Robert Downey Jr.'s Father Judge. These two dramas are both grass and gray snake lines, each step is startling, and the rhythm and structure are perfect works. In this regard, neither mainland directors nor Hong Kong directors have this foundation. Even Ning Hao can only say that these are expressed on the surface, and the more powerful level is that the audience looks unmoved and completely immersed.
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