Re-watching it many years later, I was once again shocked. This is a work that best reflects Yang Dechang's narrative skills and cold and sharp style. From a textual point of view, the original three parallel groups of worlds are connected in a devious and subtle way through a gunshot in a daily morning, and then terminated by another gunshot at the end, forming a loop structure. The world of Li Lizhong is of course the main line of the story. The coldness and indifference, alienation and betrayal of the relationship between their husband and wife are the main narrative subjects of the film expressing the devastation of the daily life to the marriage and the dilemma that the little people cannot match the impermanence of the world. The wife played by Miao Qianren is pitiful It's hateful, the pitiful thing is that he is restrained and suppressed by the monotonous marriage life, the hateful thing is that he has no enough ability to change, only through betrayal and luck, although Li Lizhong's murder at the end is an imagination, it seems to remind us that around us Any one of you may be forced to become a terrorist by life, and Yang Dechang played a tricky trick here. He first made us think that Li Lizhong's murder was a reenactment of the plot in his wife's novel. It was an Oedipus-like tragic ending. Later, he told us that everything was imaginary. The real situation was that Li Lizhong could only get rid of his pain by committing suicide. This gap gave us an even more shocking feeling. The distinction between the real and the false is also one of the themes that Yang Dechang wants to express. The characters in the film repeatedly mention the need to distinguish the difference between the story and the reality, as if the director is constantly telling the audience that we need to distinguish between the two. In this film, the reality is far less dramatic than the story, and the reality is more helpless and sad; although the other two worlds play a role in fueling the protagonist's story and threading the needle, they also have their own references. Like to use photography to record life, people unconsciously think of Antonioni's "Zoom" and Yang Dechang's later one by one. The former expresses the theme of exploring the relationship between reality and imagination, while the latter reflects Yang's works. Frequent observer status, this seems to be the representative of Yang's calm and objective recorder image in his works, who always watch the lives of other characters in the play from a distance and quietly, without mixing anything. Judging, apart from that, the emotional intersection between Xiao Qiang and Shu An, the protagonist of another world, once again confirms the theme of impermanence in the story line, and Shu An's reckless life should be the most deprived Taiwan of that era. Young people are generally portrayed. Because of the lack of proper parenting and the rebellious period of growing up, she is either hanging out with her boyfriend in the downtown area and cheating money by dancing with immortals. Li Lizhong's house, let Zhou Yufen Hearing it became the fuse for her collapse in fiction and reality, and also contributed to the first rendezvous between her world and Xiaoqiang's world. Although nothing happened at this reunion, it skillfully connected the worlds of the three together. . So the three lines are intertwined and developed independently, with the fall of one life and the imminent end of another life, which not only reflects the impermanence of fate, but also has a sense of fate. In this way, Yang Dechang uses the most restrained feelings and the most objective position to dissect the emotional and mental state of urbanites.
From the audiovisual point of view, Yang Dechang is very good at using the scheduling, light and props in the closed space to present the relationship and emotional state of the characters. Take the first scene that appeared between Zhou Yufen and Li Lizhong, first of all Zhou Yufen and Li Lizhong's face close-up , from her empty eyes and slightly distorted face, we can understand her inner discomfort and numbness, then she gets up, the camera changes to the medium shot, Zhou Yufen sits dull on the bed, the background is the stiff old-fashioned wooden chair The wooden bed and the dark light further deepened her sense of powerlessness, and the camera slowly panned to the left. We saw Li Lizhong in the distant view exercising on the balcony. His vitality and the abundant light around him and the green color representing life Zhi and his wife's previous powerlessness and the depression of the background formed a strong contrast, and then the camera continued to pan to the left, and the picture followed Li Lizhong, who was in the visual focus, to stop at the door. Li Lizhong sat down and put on his shoes, and asked his wife to help him in a commanding tone. He did laundry, and at the same time inquired about the progress of his wife's novel, and then the camera reversed. The wife did not know when she sat on the chair in the living room, and her expression was still dull and weak. Inquiries, but the husband's feedback is only incomprehension and indifference. In just a few shots, the mental state and relationship alienation between the husband and wife are explained, as well as the story of Beijing, which is concise and powerful, yet full of meaning. In addition, the scenes of Li Lizhong washing his hands in the bathroom at home many times also use light to imprint the characters' hearts. Every time Li Lizhong washes his hands, he is alone in the bathroom. Although his wife talks to him most, he is leaning against the door. The words he said while washing his hands were all related to his planned career, and there were scenes of talking to himself many times. From this point of view, the space of the bathroom can be regarded as his private atrium, so Yang Dechang was in this space. The light in the middle is a slightly dark tone, a pink light with a cool color temperature, which highlights the darkness and mystery in his heart. Yang Dechang's ability to use sound and leave blanks is also not trivial. He always dares to use the audience's imagination to fill the gap between narratives. For example, the dialogues of characters in many distant scenes in the film have no sound, and can only be realized through pictures and imagination. Brain filling the dialogue content, this kind of feeling is like a peeping perspective from a distance, which reflects the objectivity of the position. Li Lizhong's suicide at the end is also a great manifestation of this skill. After hearing the gunshots, the policeman Gu Mengzhong Woke up, trotted all the way to the bathroom door and stopped, the camera was in the side-to-side view, and then Lao Gu entered the bathroom, but the camera did not follow up. "Ling Street Teenage Murder" has also been used many times. In addition, the prop of the telephone has become a very important feature in the whole film. Props with hints, each call heralds the turning point of the characters' fate in the play, and the brief communication also symbolizes the delicate connection between each other's worlds. In the process, he will also be very appetizing. For example, from Li Lizhong washing his hands in the bathroom to when he picks up the phone from Xiaoqiang, Yang Dechang will not follow the camera all the time, but will first show the picture of the phone ringing when he washes his hands, but he will not be shown. He went out to answer the phone, but immediately cut to the ringing phone. It was not until after a while that Li Lizhong answered the phone. At this time, the restless heart of the audience was relieved and very happy. Really good at shooting!
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