At first, I mistaken the person on the poster for Cui Minzhi and bought it. After I found out that I made a mistake, I regretted it. I didn't expect it to be so good.
It is said that this movie originated from: A Korean named Luo Hongzhen, one night, in a small street off the beaten track, accidentally saw a walking woman, suddenly thought: If this woman disappeared out of thin air, did not stay No clues, no witnesses, how can we find her? It was such an accidental thought that prompted him to later direct his first feature film "The Chaser".
The so-called "debut", but it is absolutely sophisticated, the pictures are sharp and urgent, and the sense of rhythm is outstanding. That's fine, a movie with serial murderers as the subject seems to be easy to do. Hollywood can do it, Hong Kong can do it too, and it is often impossible for filmmakers in our mainland to do it. The really clever thing about "Chaser" is that it is completely anti-typified, playing cards out of common sense, and revealing the identity of the murderer soon after the opening without any suspense. However, unexpected ups and downs continue to appear in the subsequent advancement. Give you hope, and then continue to extinguish your hope, just like this pushes you into a desperate situation that you know the end but cannot avoid. At the climax of the film, the plot that took place in the commissary was probably enough to make all viewers collapse.
One night nearly a hundred years ago, in the Shaoxing Guild Hall outside Xuanwumen in Beijing, it is said that there had been a conversation like this:
a person said, "If an iron room is absolutely impossible to be destroyed without windows, there is Many people who are asleep will soon die of suffocation. However, they did not feel the sorrow of death from falling asleep to death. Now you shouted, alarming a few of the more sober people, and making this unfortunate minority suffer. Don’t you think you’re worthy of the irretrievable end-of-life suffering?”
Another said, “However, since a few people are up, you can’t say that there is no hope of destroying this iron house.”
The former was persuaded by the latter. So he later wrote a novel called "The Diary of a Madman" and started his "scream" career. This "screamer" was later "designated" as China's greatest writer of the last century. However, looking at the dialogue a hundred years later, whether he should "scream" at that time still seems to be a question.
Because his "scream" seems to have really awakened some people, but the iron house seems to have not been "destroyed" yet. According to his own statement, his thinking at the time was, "Although I have my own convictions, when it comes to hope, I can't obliterate it, because hope lies in the future, and I must not be convinced by the proof that I must not have it. This is what he said is possible." However, "the so-called possible", if it is proved, the result is still not, then why not "scream" at that time? You know, despair is certainly a great pain, but when it is desperate to give people hope, and then despair after all, it is definitely more pain, and I can't help those who are awakened from a deep sleep.
The methods and effects of "The Chaser" are, to some extent, similar to the "scream" of the great writer.
In fact, the once-rapidly rising Korean movies in recent years have gone out of the old mythology, and it is inevitable that people are suspicious: or after all, because of their shallow foundation and low sentiment, they no longer have the ability to make a comeback. However, the appearance of this "Chaser" proves to some extent that the creativity of Korean filmmakers cannot be underestimated.
Or: When will our mainland films be able to make such high-quality films continuously, even if it's not a problem? This question seems to be the same as the sigh of "When will the national football team not be afraid of Korea" often issued by Chinese fans.
In fact, the answer is also very simple, that is, when the so-called "iron house" in the dialogue a hundred years ago was really "destroyed". Or as Haruki Murakami said in a speech in Jerusalem not long ago, when everyone is willing to stand on the side of the "egg" rather than the side of the system. The question is, is that "iron house" really "destroyed"? How can it be "destroyed"? How many people are willing to stand on the side of the "egg" instead of the side of the system?
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