When Gerich made the film, it was no longer a major event in the film industry. On the contrary, it made "Rage of Man" look forward to returning to its normal position. It doesn't look heavy, and it doesn't feel bad. Moreover, in the process of watching, there is a strange smell of "creed".
This is not to say how similar the Nolan-style editing is to the structure that Gerich likes to play-there must be similarities, but Nolan is more like a machine with precise structure and clear functions, and Gerich is more like A puzzle toy with a weird design-but an audiovisual similarity. To use a synaesthetic metaphor, they are all: the audio-visual feeling of a DJ hit by the speaker when driving on a cloudy day.
In terms of tone, both are low-saturation and high-contrast images, with black sinking deep. A sunny day gives the effect of a rainy day.
There is also a brutalist style in the framing and setting. The rough and primitive building materials, the combination of bold color blocks and gray, and simple and slightly exaggerated lines.
In the photographic composition, such as the relationship in the car, the angle of view is spacious and transparent.
The action design, especially the snatch of the robbery between the two sides, has a clear spatial relationship, clear action logic, many and orderly details, clean rhythm, and pragmatic design without exaggeration.
The lens design, especially the long shots in the opening car of "Rage of Man", this simple to crude expression method, is especially in line with Nolan's attitude of "I just put the machine here and you just watch it" in recent years (all in all, it is I don't like close-ups anymore).
Clothing, both sides love the temptation of helmet uniforms like "Man Wolf" (by the way, this feeling of uniforms hanging from the sky was first realized by Bao Xiaoqiang at the end of the sixth season of "24 Hours on Terrorism").
In the end, it was naturally the music on top. Nolan provoked the loudness war in the cinema.
Well, some people may think that my analysis of this is a bit boring, but this kind of interaction between different directors at different stages of styles really attracts me, and I personally find this point very interesting.
On the whole, "Rage of Man" is more visible than "Creed", but even if I am considered a "creed black", I have to admit that the influence of "Creed" is constantly spreading. This is "Creed". "The Fury of Man" is incomparable. Although I scored "Man's Fury" one star more than "Creed", which is a score for perception and completion, it is obvious that "Creed" is a controversial work that can leave a mark in film history, and "Man's Fury" is not. .
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