Just some personal thoughts, analyze and justify the many questions that appear in this film.
When I watched it for the fourth time, and after recording the details one by one and connecting them in series, I found that this is a story that does not have many complicated theories. It is a story of a male protagonist relying on a modern "time machine" to transmit to the past to save the female protagonist.
Let's take a look at what the story is about:
A ship explosion occurred. During the investigation, the male protagonist found that a woman who was disguised as a victim of the explosion was closely related to the case. Through advanced technology, the male protagonist found the murderer, and also knew that the technology has reached the point where it can be transmitted back The method of the past, and through this method, the present self was sent back to the time before the crime, which saved the woman and prevented the tragedy of the explosion of the ship.
The story itself is very simple, and the ending is perfect. Everyone laughed and laughed after reading it, and the play ended.
However, after watching it, we were stunned. It felt as if the director told a story that was easy to understand through a non-human expression. As a result, the simple story became complicated.
The main reason is that the story gave too many clues and details, and finally gave an ending that was very contrary to the logical thinking of normal people.
I raised my limbs to agree with some comments that the male protagonist went back to the past this time is not the first time, the details are too obvious, okay:
1. The male protagonist went to the explosion site and heard the ringing of his mobile phone, thinking it was his own, but it turned out that it was in a body bag. This detail has a close-up, which is obviously intentional; the sound of the mobile phone heard by the male protagonist is his own mobile phone. The body bag should be the body that was sent back last time.
2. The colleague gave the male lead a call and said that a woman (the female lead) was looking for him. He called back and left a message. Later, when he checked the female lead’s house, he heard his own call-back message (the male lead knew that the call in the morning was from a female lead). The main title, I don't know why the heroine called him), and then I saw the plot. The heroine suspected the hero, so she called the police station to ask, and the colleague answered the phone and gave the number to the current hero.
3. When the male protagonist went to the female protagonist's house, he wore gloves, but the colleague who checked on the spot said that his fingerprints were everywhere; obviously these fingerprints were not obtained by the current male protagonist, but were sent back by the male protagonist last time.
4. When the male protagonist went to the female protagonist's house, the female protagonist's cat did not escape and ate the cat food given by the male protagonist. Later in the plot, the female protagonist brought the male protagonist home and said that her cat was afraid of life. Obviously, the female protagonist was afraid of life. The main cat is not the first time to see the male protagonist, what it sees is the male protagonist that has been sent to the past.
5. The male protagonist sees the female protagonist's refrigerator stickers spelling out "you can save her", and there are bloodstains everywhere; the following plot shows the reasons for these things; but these things are seen by the current male protagonist before, and also That is to say, these words and these bloodstains were left by the male protagonist who was sent back last time.
6. The male protagonist traced the murderer to the lakeside hut four days ago, and found the crashed ambulance and the traces of the explosion, but everything was fine four days ago. These are the later times when the male protagonist traveled back to save the female protagonist. just happened; and these scenes existed before the teleportation back, so that is to say, these happened before the teleportation.
7. The most obvious point. When the male protagonist asked the technician to teleport himself back, the technician said: "You don't actually have to do this." But the male protagonist said: "What if i already have?" (This can be understood as what if I have already done it? ) I feel that this is already a clear indication of putting the prompt board on the face.
The following is a question and answer session:
Q1: Why does the male lead believe that going back to the past can change things?
Q2: Are you obsessed with going back to save the heroine?
Q3: Why did you insist on taking the heroine away to the location of the incident?
Q4: Why did the male protagonist appear in front of the female protagonist after being blown up in the end?
The unified answer to the above four questions is: Because you can really do whatever you want to look good, and even let a man you don’t know want to wear it in time and space, I seem to hear the coffin board screws of the deceased physicists. loose sound...
No, these questions are actually revolving around the previous female technicians' divergent theories of the universe - under normal circumstances, the development and results of things will not change because of some small episodes in it, but when you create in it When a large enough event occurs, the development of things may change and even affect the outcome.
A1: Let's talk about the male protagonist's idea of sending it back:
He tries to pass a note to the past, but it leads to a change in the way his partner dies. But there is doubt here, we currently do not know the real cause of death of the partner before passing the note. But the delivery of the note did change his partner's actions four days ago. He found the murderer and helped the current male protagonist catch the murderer. Therefore, the male protagonist believes that some situations can indeed be changed in this way in the past, but the general trend of things has not changed.
A2: The reason why the male protagonist insists on going back to save the female protagonist:
The male protagonist sent a note back, which caused the partner to track down the murderer and was killed. Now the male protagonist found the remains and traces of the partner nearby, which means that the partner's behavior has changed, not changing his death, but changing him. The time and manner of death. But because of this change in the partner, the murderer's plan changed-he didn't need the heroine's car originally, but now he needs it, and the heroine was killed because of it. In other words, the male protagonist had an idea in his heart at this time: his actions led to the death of the female protagonist. In fact, in a large sense, he felt that the death of the heroine happened because of him. He went back and made up for this mistake of his own.
I know someone will ask, but now the heroine who saw the heroine at first was killed by the murderer. How could the hero know that the death of the heroine he saw now was caused by himself? At this time, the male protagonist with a keen sense of smell already knew a thing or two about the fact that it was not the first time he sent back to change the result through various signs. It is very likely that when the bombing first happened, there was no such line as the heroine at all, and the heroine may still be living her own life normally. However, because of the "special event" in which the male protagonist sent a note later, the female protagonist appeared in this timeline, and the explosion did not change, and the female protagonist's life was also included.
So why not save your partner's life? The technician has already told you the premise before, and the premise of sending it back: within a certain range and within a certain time. The current male protagonist sees the real-time scene four days and six hours ago, that is to say, when he sees the death of his partner on the screen, this event has already happened in real time four days and six hours ago, that is, the partner is dead. , cannot be backtracked, cannot be changed.
A3: The reason why the male protagonist insisted on taking the female protagonist to leave and go to the place of the incident together:
Obviously, we have already known in most of the previous story progress that everything the current male protagonist did after teleporting back to the past is exactly the same as the clues he left when he surveyed the scene in the current period. That is to say, the last time (perhaps including the last time, the last time, the last time...) after the male protagonist was sent back, he did the same thing as the current male protagonist, until the male protagonist rescued the female protagonist at the lake house and arrived Until her family went to deal with the wound, everything was going well, and the heroine is currently alive. At this time, the male protagonist, who already knew that he had been teleported back last time, found a problem, that is, according to the development of the situation, the female protagonist should be alive before he teleported back this time, but he was still killed, and the ship also It still exploded, and the last time I came back was also dead (the phone was ringing in the body bag at first). The male protagonist finds that he has not changed anything, he has changed some events in the process of development, but he has not changed the result. If he still keeps the heroine at home according to his original plan, then she is likely to be killed by the murderer like a partner, but the location and events of the killing are different.
So he learned to be smart this time. He changed his original plan and rerouted the original timeline "River". This time, instead of changing his own behavior, he changed the murderer's behavior - yes, the key to affecting the outcome of this timeline is not the male protagonist, nor the female protagonist, but the murderer! ! ! (The male protagonist may have used different rescue methods in the previous attempts, but because the murderer still installed the bomb according to the established plan and observed it on the bridge, the incident did not fundamentally change, and the explosion still occurred.) The murderer found that He got his own car and knew that the male lead (or female lead) got on the boat, so he jumped on the boat at the last moment.
Is it anyone who is curious again, the male protagonist may have brought the female protagonist with him when he sent it back the previous time, and the female protagonist may have been discovered by the murderer and helped in the car just like later. The male protagonist did not rescue her in time, and died together. This assumption does not hold: 1. The female protagonist has already said through the male protagonist during the autopsy that if she is so close to the bomb, it is impossible to lie completely in the morgue; 2. If this is the case, then the murderer cannot be on the case. Standing on the bridge a few minutes before the launch and watching, but should have been blown up or killed on the boat, but not on the bridge.
A4: In the end, how is the male protagonist dead and alive?
The male protagonist passed on from the present tense is dead, absolutely dead. And the male protagonist that the female protagonist sees later is actually the male protagonist who has pushed forward for four days and 6 hours in the present tense, just like the present male protagonist arrives at the scene of the crime at the beginning of the film, but the ending has changed. To put it simply, when the male protagonist in the present tense is passed back to the past (four days and 6 hours ago), the male protagonists in the past tense exist at the same time, but they just don't see each other. In fact, this is still in line with the previous theory of female technicians. The two branches can coexist, but they are experiencing different things. But if these two "branches" meet, things will become complicated, so the ending makes the returned male protagonist die, which is reasonable and ingenious.
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