Old Martin went the way of rambled on realistic novels and didn't pay much attention to the dramatic tension. No wonder Martin is attracted to the French, and Balzac has it. The background and characters of the Boston gangster can be found by any screenwriter in Hollywood. Suppose, there may be a book about the Boston gangster that has been pressed by the producer for many years. The characters and background are acceptable, but the story tension is not good. Now I just took it and put it in the background of the story of Infernal Affairs. Movies are visual art. In addition to the tension of the story, the Hong Kong version of Infernal Affairs also has a lot of visual details that shine (otherwise Old Martin would not have copied it): plaster falls, stupid death, yellow sir falling from high altitude, elevator door clipping corpse, ,, as a director, old Martin can completely design different details, why should he copy it hard, his plaster cast has no tension at all, from the tense and complex psychological warfare and the important plot of advancing the relationship between the characters to the violent pua that spills dog blood, On the contrary, the emotional character in the Hong Kong version of Sha Qiang was used to make up a tense suspicion scene. The film has been in progress for an hour, and the characters are still piled up. The two sides have not yet confronted each other, and the two bosses behind them have no relationship at all. The police station has a ghost, but the leader said: We think there is a ghost. Instead of relying on a confrontation to find out that the other party has ghosts. What's the point of the screenwriter's level? He tried his best to add a father-son show to Nicholson and Xiao Lizi, but Martin Sheen and Xiao Lizi didn't have much drama. As a result, there was no tension when they died, and they couldn't even break through the death method of falling from high altitude. What about the director's control. It's okay to make two girls into one. Is it just to express the absurdity in the end? So many people have to work so hard, and in the end they have to go straight to the point of Callahan-style. Probably to please the audience. The Hong Kong version ends with at least a bit of complexity and film-noir desperation. For commercial films, sometimes it is superfluous to always want to build an explainable world and understandable characters. Your description for a long time may be just a background, and the characters and stories are not shining. Gangsters, police, undercover, make good use of these labels, play and break through with details.
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