Traditional Culture Encyclopedia - Photography major - How to treat ingrid bergman's holy angel honey trap and Hitchcock's love story?
How to treat ingrid bergman's holy angel honey trap and Hitchcock's love story?
Hitchcock occupies a place in the world film industry with his unique suspense film style. He brought a series of classic movies to the world cinema through clever plot setting, witty dialogue and a series of suspense creations.
Although "Beautiful Plan" is classified as a suspense thriller by many viewers, Hitchcock himself has made it clear that this film is actually a romantic film.
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Love in Close-up Fran?ois Truffaut once said in an interview with Hitchcock: There are few scenes in the film, which are extremely pure; This is a model for arranging the structure of the script. "
Hitchcock is another person who can directly shoot emotions such as doubt, jealousy, desire and envy, which can make the audience feel more directly and clearly about the film.
The film took nearly three minutes 158 seconds to show the deep love between the hero and heroine. Grant and Bergman kiss each other and talk about dinner. They kept hugging, walking to the phone, walking to the door-Hitchcock kept the camera close to them, with close-ups from beginning to end.
Ordinary audience may be fascinated by this touching love performance. In fact, the director is also using photography skills to convey his view of love-love can not withstand interference, even a phone call, a little gesture.
But this shooting method was controversial at that time, because the audience at that time didn't like such explicit screen display.
Hitchcock, on the other hand, has stronger manipulation and control over this lens. He used close-ups to express the strong love feelings of the hero and heroine, which was strongly implanted in the audience's mind. In addition, Hitchcock filmed a conversation between two people, which showed their attitudes and feelings towards each other. The conflict between the two reached its peak at the racetrack.
They had a quarrel at the racetrack, but they should have handed over the spy information, but they had to avoid Mr. Sai's eyes and pretend that nothing had happened between them, and at the same time they had to finish shooting in a rather chaotic background. Hitchcock used a set of close-ups here, and the telephoto lens compressed the distance between the characters and the background. The shooting direction here is worth noting:
In this relationship, Alicia has always been positive and enthusiastic. She takes a direct approach to their emotional problems, so she will take a direct confrontation approach. Her performance in this scene will always be a close-up of the positive direction;
On the other hand, Devlin has always been rational, convergent and evasive. The director's performance on him will be shot with close-ups on the side, and the side will be more rational.
At the end of the film, Devlin went to Alex's house to visit Alicia, who was ill in bed, and confided without reservation. Here we meet with two long shots of 1 14 seconds and 1 04 seconds, but there is no scene change. All Devlin said to Alicia was how long Alicia had waited. At this moment, the director focused the audience's attention on the love expression of the two protagonists.
Just like the love between two people is sincere and long-lasting. Love in suspense
This film shows the ancient conflict between love and responsibility. The whole film skillfully designs suspense in a quiet, accurate and clear narrative. When Hitchcock answered a fan's question about what is the most profound logic of his films, he replied:
The setting of suspense is the best way to catch the audience. In the film art dictionary, suspense is interpreted as:
"He is one of the ways to deal with the plot structure. He used the audience's (readers') expectations for the development of the story and the fate of the characters to express the unresolved contradictions set in the drama in different ways in different styles of film and television dramas. " .
Therefore, suspense is a kind of tension to the audience's attention and expectation; For creators, suspense is a creative technique about contradictions and conflicts.
Hitchcock's suspense has become his own film style, and the audience can recognize it in a few minutes.
Almost every Hitchcock movie will have something called "Meg", such as the key in the bottle and uranium sand, Rebecca in the butterfly dream, and everything with the letter "R".
"Meg" actually doesn't exist, but it has been working. The introduction of Meg in the beautiful plan is also very artistic.
The part where Alicia steals the key in the film is also the climax of the plot. The director used a 7-second action shot, from close-up to close-up, from flat angle to prone angle. This imitates Alicia's subjective perspective, and the speed at which the lens is pushed up can affect and adjust the rhythm of the picture, thus producing externalized emotional power.
Here, the push-up lens is quickly lengthened to attract the audience's attention to Alicia's goal, that is, stealing keys.
The rapid push of the lens strengthens the tension of the plot and increases the audience's sense of substitution.
The key "Meg" leads people to discover the next "Meg"-uranium sand in the bottle. This paragraph is also very exciting.
The consistency of the scenery is shown through close-ups. The quick cut of the fixed lens can better adjust the rhythm and atmosphere. Inadvertently touching the bottle and finding uranium sand is actually an emotional accumulation of the audience.
Devlin wanted to see the watch posted on the wall, but he accidentally knocked off a wine bottle, which triggered a series of follow-up events.
Here, the hero and heroine's handling of broken bottles also left suspense for the film. Will Alex find out? What's in the bottle?
These ideas are all caused by uranium sand in the bottle of "Meg" in the movie.
The audience can participate in the film to the maximum extent, as Hitchcock once said:
"When watching a movie masterpiece, we don't sit as bystanders, but participate in it."
Hitchcock is good at setting suspense and conveying fear.
There is a scene in the film where Alicia, Alex's mother and son and a friend are sitting in the living room. My friend is asking about Alicia's illness. When Alicia found out that she was poisoned, she felt nervous, panicked and scared.
This passage combines a fixed lens with a moving lens. Two push-up shots simulate Alicia's subjective perspective, from close-up to close-up, combining the typical Hitchcock's eyes in the film: the hero faces the camera's eyes almost directly.
Alex's mother is sitting in a straight-backed chair. Staring straight at Alicia, pushing up the camera forced the audience to see Alex's mother's strong and proud expression and feel the fear she brought to Alicia.
There is also a 9-second long shot, from the downward angle, from panorama to close-up, pushed at right angles. Panorama explains the spatial relationship. At that time, the position and close-up of everyone in the room shifted from relationship to personal concern. At this time, Alicia stood up dizzy, and the close-up at this time was used to express her facial expression and tangled state. Push-up shooting also hinted at her situation, being in the weak camp of the enemy, helpless and having to be pushed around.
Hitchcock also set a suspense for the ending of the whole movie. In the last scene of the film, Alex slowly turns around and walks to his home, as if accepting his fate. The door of his house gradually closed, and everything fell into endless darkness.
After 30 seconds. When the scene changes from small to large and the direction changes from positive to negative, doubts arise: will Alex be tried and executed by his accomplices? Can Alicia and Devlin escape in the dark? Can the FBI and Nazi remnants leave them alone? Kirk actually created a lot of suspense by matching dark pictures with horrible melodies.
What is the ending of the two stories: the open line and the dark line? The fate of each character in the play is unclear, but he deliberately left the audience with room for imagination. Finally, let's look at Ingrid Bergman, who is as beautiful as a sacred angel.
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