New Orleans after the hurricane, six months later... and then, a year later... In
this year, Terence (Nicholas Cage), who has all the characteristics of a bastard, experienced two honors and saved a prisoner. After breaking a case of killing the door, the joint drug dealers killed the enemy, settled all the accusations against him, completed the creation of human beings, and fulfilled his life.
It’s a bit like a legend of a bad policeman. This feeling becomes more and more obvious with the setting of a special background. When Terrence rescued the criminals trapped in prison during the hurricane, he severely injured his spine, and he had to endure painful pain throughout his life. This seems to be the reason why Terrance is obsessed with drugs and women and can't extricate himself from it. There is a little leeway in judging him by law or morality. The screenwriter of the play William Finkelstein said that this is a new "Bad Lieutenant" that is different from the original, and the mechanism may be here.
What is to be realized in the original version is a downright bad policeman, with a happy family and lovely children. He also wants to live an amphibian life. He is addicted to drugs and deep in erosive pornography. The main theme lies in the police’s "bad" ". In the new version, even though Terrence’s arbitrariness is portrayed, even the nude photos of his colleagues and girlfriends are embezzled, but Cage shows a painful and strange body shape, which is not convincing, and all the distorted and perverted human nature is posted on the contrary. A label that can be interpreted. Of course, it makes sense is one thing, whether it can be shocked is another matter.
This is also the reason why I compare the plots of the two editions and not optimistic about the new version of "Bad Lieutenant". Even if the story is reasonable, but the theme is not prominent enough, the creativity seems redundant, the plot is too scattered and sudden, it is better to go the "old way". For feature films, if the problem lies in the big frame of the story, I believe that the director and actors can fix the situation a bit, but once the problem spreads to the whole drama like cancer cells, the director and actors who are capable will never get back. The magic of Tian Liaoshu. The audience in this era is very picky and not easy to fool.
You have to stay in your place, and find out the reasons. William Finkelstein, the screenwriter of the new version of "Bad Lieutenant", is probably the biggest culprit for the failure of the whole show. Even if he can calmly respond to the ridicule of the old director Ferrara and use the brand new "Bad Lieutenant" to block the mouth of his predecessors, he still cannot win the sympathy of the audience with a soft posture, and remove the audience’s insight into all the mistakes and omissions. Eye.
In addition to the shortcomings in the script, another controversy lies in the German director Werner Herzog. I personally think that he is a great director, but whether his talents can be fully realized, in most cases, has a lot to do with the quality of the script. Think about it this is not his own problem, all great directors have encountered such embarrassment.
The documentary "Little Dieter Wants to Fly" is not strictly self-written and directed for Herzog, but the combination of reality and reality, the smooth and natural connection of the material, fully shows a director in charge of the whole film Talent. In addition to the unexpected plot of "Walček", the very in-depth lines are a highlight. He gives the story and the protagonist a paranoid character, which is very eye-catching in his somewhat dull shots. In "Everyone for Oneself, God Against All", Herzog can change the setting at will, murdering a person who may not have come to this world at all in a mysterious, filthy and picturesque mood. He carried all the human suffering on the "unknown" protagonist with a problematic brain. Whether it is politics, religion, or secularity, it has become an ulterior secret. Only "human beings are human playthings" can't be achieved. cover. Whether it was an early short film or a feature film that later won him a reputation, he gave the film a heavy spirit and soul, this way seems to have never changed.
He is good at handling the story smoothly and introverted, and finally burst out, a bit like an old-fashioned popcorn, shaking and shaking, and finally stepping on the flower. Throughout the film, from the beginning and the end, he will follow a sense of rhythm without rush, use a relatively plain shooting technique, artificially control the characters or the plot of the story, and use his stream of consciousness literary form to whitewash the glitz in the drama. This is particularly prominent in his commonly used allegorical empty shots and props, and it has become his personal style. The reason for simply analyzing Herzog's films is not to pass on his mistakes to the script. Objectively speaking, looking at this film from his standpoint, it must be a very Herzog-style film, but using the original violent as a reference, there are all kinds of problems.
Nicholas Cage did not let me down. In recent years, there have been many problems. This year's "Mystery Code" allowed him to successfully promote his current new image. Although the response has been mixed, it has somewhat stabilized the situation. And this "Bad Lieutenant" can be regarded as a facelift, and we will accept the fact that he is no longer young in the future, but his acting skills are undoubtedly, for this film, he can also be awarded the medal of fire fighting hero. Herzog found Cage and saved face. Cage wasted an opportunity to regain his glory because of the script that had no breakthrough and shrunk.
Chewing your tongue again, Abel Ferrara can understand the constant complaints about the remake of the film, but he doubts whether the intention behind his radical remarks is to find a selling point for the new version of the film? Or you can pull out the old version and expose it for a while, puzzled. "Bad Lieutenant" in 1992, to be honest, the biggest halo of the film will also be on the head of the powerful veteran Harvey Keitel. Although Ferrara's bold shooting method is impressive, afterwards, it is a glimpse of pornography and tongue-in-cheek. And he wants to sublimate the theme of anti-religion and anti-pseudo-morality, probably because of Harvey Keitel’s superb acting skills, coupled with the naked pictures, only made the background of the story, what really makes people remember is the movie, he A character created. Of course, this must also be the success of Abel Ferrara.
Turning back to the new version of "Bad Lieutenant", I have some disappointments, but it is not enough to deny this film. Still like Cage, still like Herzog. Very naive crusade, just want to say, this screenwriter is too easy to make money so much!
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