Seems to have to be a little spoiler first.
The 14-year-old girl was alone in a western town to take care of the funeral of her late father. The murderer had already escaped. At the same time, a mounted police officer from Texas offered a reward to pursue the murderer; in order to be able to kill her father's enemy on the spot, the little girl needed to Find the killer first. In desperation, he had no choice but to turn to the town's outdated old sheriff Colburn.
After a simple conflict, the little girl, the old sheriff, and the mounted police embarked on a wild and dangerous road of chasing the murderer.
Along the way, they split and merged. After many twists and turns, they led out the bully gang who had been on the run for several years through the clues of the murderer.
In the final confrontation, the old sheriff hunted four murderers by himself, and the mounted police got a new life; near the end, the little girl was accidentally injured, and the old sheriff flew day and night to rescue, leaving a lifelong friendship.
The reason why the spoiler is spoiler is because this Cohen version of "Thunderbolt" not only has too simple characters in the plot, but also the story technique is unremarkable. If it is known that this is a remake of the drama, it is estimated that more people will take the initiative to detour.
Even a lot of Cohen fans thought it was too un-Coen Brothers to be compared to the likes of No Country for Old Men.
However, this is one of my favorite movies.
In the eyes of many people, American westerns are the representative of roughness and hardcore. Even if Grandpa Dongmu's "Unforgivable" has unprecedentedly added human reflection on heroes and violence to western themes, it is quite hardcore. of.
"Thunderbolt" makes a western movie, in addition to the so-called legend, a lot more "real".
This kind of truth lies in the trembling hands of the childish and innocent little girl raising her gun, in the depraved footsteps of the old sheriff, and in the bragging but cowardly eyes of the fledgling mounted police officer.
The three Grit men who are about to be shaped, except for a cowboy outfit and a gun around their waists, are almost broken and mutilated. They formed a crappy team, but they were going to challenge the dangerous gangsters on the run in the wilderness.
The constant quarrels along the way, and the differences in their own interests, will inevitably lead to separation; however, the sudden appearance of the murderer, the simple intensification of the contradictions, and the logical intensification of the contradictions brought them together, and they had to work together to solve the test of life and death. Confrontation with evil.
The climax of the movie is the bridge between the old sheriff and the mounted police to shoot the four murderers inside and outside. There are no superb skills, and no overly exaggerated big scenes. One or four fights on the court, long mirrors, restrained lines, a few simple strokes, and head-to-head battles; remote betting outside the court, no experience, no merit, in the only bet in life, even if the palm is shaking, you must find the spark In an instant, there was a fatal blow.
In just a few minutes, the almost documentary-style shooting process makes people unable to help themselves, thinking about the extreme danger.
Such very Be true characters and plot handling make the whole murder hunt more like a real thing in our real life, rather than an unparalleled legend compiled from a movie script.
This kind of "reality" that doesn't care that the audience will feel bland at all may be a simple interpretation of the title TRUE.
In addition to the sense of reality, I love the subtle blank of "Thunderbolt".
Perhaps in the film philosophy of film master Yasujiro Ozu, the blank method of "winner or loser" is not a superb technique, but when grafted into an American western film, it shows a very unique and indescribable way. moving.
The duel between the old and new police officers is not the best part of the film. The old sheriff rescues the little girl on the horse's back, which is the most wonderful easter egg in the whole film.
I have to jump in here, the soundtrack of the movie is really beautiful. In this scene, the piano music that runs through it is light and graceful, smooth and silent, echoing the dark and cold distant mountains, and the sparkling night sky, which is extraordinarily ethereal and distant.
The long-term perspective and close-up alternate back and forth, the silence of the barren wilderness and the panting panting of the horses and horses, sometimes widened, sometimes tense; together with the subtle advancement of emotions, strong and gentle, very exciting; when the camera passes through the soundtrack of clouds and water The afterglow of the sunset, the shadow of the forest and the horseshoe, passing through the black jungle, the starry sky on the snowy night, is as ethereal, long and beautiful as a year or a lifetime.
And when the horse in the middle of the deserted wilderness suddenly stumbled to the ground, the old sheriff's tight breathing caused a long white mist in the cold night, a cruel, courageous, sad and sad emotion filled the screen... ... the situation is so far, it is difficult to calm down.
All courage must turn into decisive cruelty, and all softness must turn into hard courage.
The old Sheriff Colburn pulled the trigger, and in the weak struggle and elongated silhouette of the little girl, decisively ended the pain of the horse. Then he picked up the girl, without any objection, and flew forward.
In the slightly swaying and fast-moving subjective perspective, the girl is chaotic and weak in the arms of Colburn. The long road is as long as two centuries, illusory and illusory, accompanied by the subtle sublimation of growth and dedication, It's like having experienced a long, painful and light dream journey.
The hero is late, how proud is it? Lian Po is old, can he still eat?
When Colburn used his last strength to fire the gun in the direction of the hut, he couldn't help but recite:
I've grown old.
And the end of this long sigh is another person's unforgettable beginning.
This beginning is also an infinite aftertaste left to the audience.
There is a line in a Japanese drama that I don't remember the title of which I always remember:
You have to choose your own life and take responsibility for it. That's called living.
There is also a line in Cohen's version of "Thunderbolt" that many people use as a summary of the theme:
You must pay for everything in this world, one way or another. There is nothing free. Except the grace of God.
Basically, that's the gist of the film I can feel.
The so-called True Grit may not be the bravery and perseverance that people show in the process of going all out, but at the moment of choice, it has already been decided.
Regardless of the gold and iron horses, the earth will be silent in the end.
Even radical and loving, it will hide in time.
Humble or powerful, silent or alert; firm or negative, stubborn or reluctant... Every scene in the movie is so real and cruel, yet so tender and sad. No matter how magnificent life is, it seems so insignificant in the endless life that is widened and magnified. All regret, fiery, and recklessness will be reconciled in a pure hymn in the end.
No matter who you are, no matter how determined you are, as long as you make a choice, you will be on the road of no return.
Suddenly out of words.
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