Usually this kind of subject matter will be made into a heavy historical work, but this film does the opposite.
The lieutenant was not portrayed as a demon like Amon Goeth in "Schindler's List". Instead, in addition to a few violent, more obscure tenderness, the confrontation between the two protagonists was weakened. , it is impossible to construct or suppress or break out or escape the natural dramatic tension. In addition to the basic setting - this dislocation of chicken and duck speaking of Persian language adds a bit of comedy to the film. Coupled with the looming homosexuality, the film is unique in its kind.
This uniqueness is not necessarily all positive. In the context of the generally serious and heavy historical films, weakening this historical conflict is likely to lose the most basic dramatic tension, leading to a complete collapse.
The biggest problem is the rhythm and the story. The story is very flat. All conflicts are driven by the officer alone. The male protagonist seems to be able to fight monsters and upgrade and always save the day. Protected by officers. This unbalanced relationship makes the plot development less dynamic. Once you protect it every time, until the end, you say that you just use it, and I don't believe that the two have no feelings for each other.
The character setting is the same. The lieutenant's warmth did not bring out the human side of him, nor did it do a good job of showing the complexity of human nature, but instead self-defeated to make such a Nazi officer weak and unwieldy.
The emotional entanglements between the two men and two women of the junior officers were unclear, but they could not be omitted. The colonel was supposed to be a strong resistance, but unfortunately there was not much writing and ink, like an invisible man. Most people here act without motivation. The Italian tool man's brother has insufficient motive to kill, and it is far-fetched for the male protagonist to die instead of his younger brother.
Extra points at the end, "I'll change their names and engrave them in your mind forever". What a shocking thing this is. But the problem is that the lieutenant in the film has limited power, is angry, shakes his beliefs, and avoids war. In fact, such a character can't bear such a shock, and he himself does not seem to have received the whipping and redemption of his soul, and the final truth has been settled hastily. This left me at a loss, and I didn't even know what kind of feelings to treat this Nazi.
Of course, the movie has bright spots, the details of the movie are quite rich, and a lot of plots are worth digging into and pondering. In addition, the audio-visual language is also quite good. The combination of the lens and the scene, plus a large number of clips without background sound, creates a chilling and depressing scene. It also uses high-saturation colors in many indoor scenes to create a relatively safe environment and a sense of respite for the rest of your life. In addition, the deliberate lighting in several places where two people sit and stand together in the same room is very textured and highlights the atmosphere, which is the finishing touch.
I feel that the director does not fully understand what kind of story he wants to present, or he has limited ability to control the complex narrative, resulting in the film's lack of plot, vague characters, and inability to express emotions.
But the details, metaphors, and the strong tension emanating from the script itself are all destined to be an excellent work based on personal struggles under the war.
It's a little disappointing, and sometimes it's not good to have too high expectations. Such a story may work better with a director who is better at telling stories (of course, it may not work if you use the Hollywood style). However, when it is released in China, a ticket will still be added, and it is still worth savoring.
I will forever engrave the names of the dead in your mind, the butcher, and every sigh of yours is a living being.
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