"Fury" inevitably brings director David Ayer's understanding of the so-called human nature, and seems to be promoting American-style patriotism. The director described some of his intentions with sound and light paintings in an almost textbook way.
As a major movie country today, it is really fun to get a few real Shermans and a Tiger tank to act on the premise of not bad money. In fact, this is the highlight of the movie, it is true. Of course, it is undeniable that there is a lot of artistic processing in it, but it is only for the effect, at least there is no flaw in the domestic magic film that M1 was replaced by M16.
The first thing to talk about is the contrast of space. The director uses a closed tank space to represent the human nature suppressed by the war, while the vast world outside the tank implies a completely different realm from the suppressed human nature, but the reality is not as beautiful as imagined. The expression of this strong conflict is the theme of the movie. It can be said that this movie does not have much themes that need to be promoted, and more of it is self-imagined by us as the audience for the director.
As far as this topic is concerned, I have to say that Brother Brad Pitt plays Don Collier (Wardaddy), and he compares the inner world of a veteran who has been immersed in war for a long time and the true colors of human nature in front of us. . His thirst for life is manifested by his leadership as Fury's CEO leading the team to achieve the least casualty rate; his attitude toward the enemy is manifested by his shooting of recruits and surrendering to the Germans; his understanding of his responsibility is manifested by seeing death at the crossroads choose to perform. His attitude towards life and death is shown in Two Grenades and Let Norman flee. With everything in mind, it exposes the potential of human beings and the good and evil aspects of human nature under extreme conditions, and it also reveals an adult man's attitude and thinking about the world.
Speaking of this, there is another discovery that I can't help but sigh. The American films are all small people, because in the traditional American culture, what he preaches is self-redemption, which is the American individual heroism we usually hear about. , the United States is the one who preaches that there is no savior and that the realization of Interna Schonal is all by itself. It's like an implicit oriental movie. The president, the chairman, the emperor, and the minister are always on the scene. The little people all grow up while fighting against their oppression, and the story is sublimated. In fact, this also reflects an indisputable fact, that is, the ancient oriental culture pinned its hopes on others. Others may be humans, gods, or the cycle of heaven.
Closer to home, the second noteworthy aspect of the film is the stark contrast between Wardaddy and Machine. A tried-and-true veteran, a rookie on the battlefield; a reborn after a catastrophe, and an ignorant one; the contrast between these is like reading a composition written by a child, which is very blunt, but it is also Facts happen.
Contrasting the two is not simply a declaration of the cruelty and ruthlessness of war, forcing people to change and submit. It is more of an alternative thinking about the impermanence of the world. In the movie, life or death is not really a question worth thinking about. Many results are in one thought, either for oneself or for others. Therefore, the director uses a more extreme environment to reflect such mixed problems one by one, so that the audience can see many points of their own concern. Throughout the film's confrontational plot, Don Collier (Wardaddy) and Norman (Machine) have a relationship that is both mentor and friend, similar to father and son. For the lengthy episode of the movie showing Wardaddy teaching Machine how to be "ruthless as winter to enemies," I'm more concerned with the scene where Machine creates a "spring-warm" sex condition.
From the plot control of the movie, the biggest effect of this scene is the contrast, and it is a textbook-like trace. However, Jagged Blood and Rose have always been what the director is willing to use. I don't know if my senses are wrong. On the way to Fury's battle group, there seems to be a scene where Emma pushes a bicycle and meets Norman, for the emotional entanglement between Machine and Emma later, forget it or say The repetition on the bed was a foreshadowing. When Machine and Emma were playing the piano and singing, my design scene was: "A stray bullet hit Emma who was singing a lullaby, Machine was at a loss, Emma's cousin cried bitterly, and then Wardaddy Still eating his egg dinner as usual." However, the progress of the film is that the stunned young Machine and Emma had a physical exchange and were rudely taken away by their comrades in arms, and Emma was immediately killed by the Germans' own artillery shells. It belongs to the same destination in different ways. They are all naked and pull the extreme scenes of the bloody forest to the audience. There is no aesthetics, no follow-up, and only sighs and thoughts are left.
In terms of plot advancement, the crossroads should be the climax of the story, but I always feel that this film is a bit premature, because the battle between three M-4s and Tiger tanks seems to be the most enjoyable. This is also the scene where the director is proud of. However, there are too many hidden contents in the battle of Cross Street, and people have to pay attention to it. Among them, the pragmatism of the Americans, Wardaddy's attitude towards responsibility, the steadfastness of the tank crew members to their brothers, the growth and inheritance of Machine, and even the composure of the snipers in the German SS in the chaos, the young SS's momentary The heart of compassion has to be said to be very heavy in the whole movie. These metaphors are constantly displayed by the director in the post-1/4D plot, which is a bit dizzying. I secretly thought that if I changed the face of a Chinese, it would be inspired by a squad leader who was a staunch Chinese Communist Party member and a new recruit who was a prospective Party member. The story of the five heroes of Langya Mountain.
Speaking of which, not much to say. This is an American-style theme film, without too much patriotism, personal heroism, but too many unfinished words. Maybe it's just that our thinking is solidified. In fact, there are too many things happening in this world, and there is not much difference.
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