In fact, looking at the 1995 film now, the unexpected reversal at the end may have been expected by many people now. When I saw the fake climax, the police's reasoning couldn't help but think that if this was made up, the story would be more It's wonderful, I finally found that the screenwriter also thought the same, but what I expected was that countless people instilled a certain inertial thinking in me in the process of learning from the classics, and the reason why the classics can become classics is that they have too much What a place worth learning and appreciating.
Record the key narrative structure of the film (hint: don’t read it if you haven’t seen the film, it’s purely personal messy notes):
At the beginning, the suspense is pushed back by the results of the main event of the whole film (it can belong to the present part)
The feature film intersperses the past with the present through the male protagonist's confession:
The main film begins with a confession from the current male protagonist, recalling the past, interspersed with the first gathering of the five people a few weeks ago.
Interspersed with the first day after the incident in the present continuous tense, a policeman is collecting evidence, and another policeman is taking a statement. The two lines are carried out. The dialogue between the policeman and the male protagonist is foreshadowing. The policeman asks a sentence to lead the story of the past. The part is followed by the past part described earlier, and the order of the past and the present is officially started.
False climax, echoing the suspense at the beginning, suspected to reveal the answer
Followed by the last reversal of the whole film, here is the real climax, all the foreshadowing buried in the front flashed at this moment, the truth of the characters surfaced, but all the previous stories were overturned, leaving a blank past. , leaving the audience with infinite space for reverie
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