Who has seen a black boy who is not too cold?

I like this movie best. I have studied it for a long time.

Black Leon is narrated from the perspective of omniscience. At the beginning of the film, several main characters appeared in the film, which played the role of introducing characters. Judging from the structural composition, the film began to narrate for more than ten minutes, which led to the characters and started the causal chain of the whole film. From the beginning to the climax, the film didn't give the two protagonists too much external pressure, but in fact, Mathilde's suspense/pressure of revenge for his brother has always existed, but the film didn't let the two protagonists enter the outside world, so we didn't realize the pressure on them too clearly. So, in what way does the director strengthen and reflect the pressure on Leon and Mathilde? By watching the whole movie, we can know the source of stress-Stan and his police station. This can be related to the theme of the whole movie. Its main control idea tells us that the social machine represented by the police station is actually the external performance of the whole indifferent city and a concentrated symbol of society. Leon and Mathilde's world is in conflict with the outside world, because they are marginal groups in this world, and they have no right to live normally. The world they live in is full of darkness at their fingertips, and their own strength is very weak, but what stands in front of them is the whole social mechanism, which is essentially the same as Spartacus' personal strength against the whole social system. Therefore, the design of pressure is pre-existing, and it is strengthened step by step, not because of its own strength, but because of the "weakening" of the opposing two people. Leon himself does not want to rebel against this powerful society, but wants to enter the mainstream and have a stable life. As an individual, he is also a powerful individual, because he is a professional killer and a skilled killer. "Leon won't die, he can't die!" His customer Tony speaks highly of him, and Leon is the treasure of his town. Mathilde has just entered his life at this time. The film allows them to enter each other's world through the depiction of the middle narrative paragraphs. In this process, Leon changed from apathy and gloom (comparing the colors of the city) to sensibility and warm sunshine. This change makes Lyon a killer with secular desires, which is a taboo for being a killer and also makes Lyon unable to concentrate on his work. He regarded Mathilda as his daughter, even a lover, which virtually weakened Leon's strength and made him finally embark on the road of tragic hero. Leon is the backbone of the whole positive system. If his strength is weakened, the overall strength will be weakened and the external pressure will be relatively "enhanced". Through the introduction of the opening characters, the film changes to the middle characters, completes the transformation of internal and external forces, and also plays a role in transferring the empathy factors of the audience to the two protagonists. When the crisis appeared, the protagonist's antagonistic force was brought out and made it appear on the screen. When the climax came, their resistance finally appeared-the riot police who entered Leon and Mathilde's residence in batches were almost the most advanced and powerful weapons in the police station and Stan's sinister diabolical. After the climax, the pressure still exists. At this time, Mathilde was in danger of being taken away by the police, and then Tony's treachery. Until the end of the film, Mathilde fled the city, and the pressure was finally relieved, returning to the peace at the beginning. The director skillfully used the characters' own characteristics, understood the characters' strength with emotion, and gradually separated the characters from the external urban environment, resulting in strong empathy factors. Leon's decline from strength to weakness is actually formed by his gradual departure from the original world and his entry into the emotional world with Mathilde, which in itself shows the characteristics of the city's coldness, strength and devouring humanity. From the beginning, luc besson wanted to make this film in a commercial mode. He tells the life story of a killer and a lonely girl with a traditional classic model and a "new baroque" style. So, as always, he showed his love for life and nature in his films, lashing industrial society and civilization. The plot paragraphs of the film are closely related to the theme of the whole film. As mentioned above, a group of shots at the beginning and end exist as the eyes of the film, which is the finishing touch and a short and powerful visual presentation. In the film, the different choices of the protagonist determine the ideological trend of the film. In particular, some details often show many rich themes. Leon's series of actions-peeping at the actions of Stan and his gang from the "cat's eye" at home; Accept Mathilde ambitiously; Going to the police station to rescue Mathilde and so on, his actions and choices have obvious tendencies, which are the true face of human nature and the concentrated representative of goodness. In particular, he accepted Mathilde, which was the direct cause of his death, and his behavior became one of the most important plot points in the whole film. The director symbolically showed this point with the lens of two people walking on the road. The dominant idea of "the emotional process between a killer and a girl" to be told in the film is also an important reason for this plot. Therefore, the origin of this important paragraph is inseparable from the theme of the film. This important plot point is also the turning point of the film. This passage and the one in which Stan and his gang killed the Mathilde family constitute the turning point of the whole story and guide the development of the whole story. The pattern at the end of the film has completely turned into the value conversion of the whole film, showing the positive and negative opposition. The continuation of life has become the ultimate embodiment of value. No matter who it is, we must admit that a land suitable for the growth and continuation of life is what we and the people in the film pursue together. After Leon's death, the film finally completed the transformation from positive value to negative value with such a far-reaching ending, and the story was fixed here, and the positive value was established, which is also the ultimate theme of the whole film. The theme of the film is brilliantly scattered on several important plot points in the film, so that the audience can understand the profound thoughts contained in the film during the viewing process. What's more natural and outstanding is that Black Boy Leon, with a structural model of a commercial film, breeds a variety of rich ideas, which embodies the director's infinite concern for human nature and life, and makes the audience happy without any passive acceptance. The film uses the constant wandering of two values to achieve this. At first, before Leon appeared and Stan began to kill the Mathilde family, the narrative was carried out in a tepid way, but when Stan and his gang started to kill people, this tepid became a real negative. In fact, Stan's police identity can't make us feel very real, not to mention that he didn't kill any "good people", but they really angered the audience by killing a four-year-old boy, and Stan's character image was completely negative. His "killing" is considered negative. Let's take a look at Lyon. Like Stan, he is also killing brutally, but more often he is a hired killer and a killing machine. His "killing" is considered "neutral" because it is considered as his "work". After the film explained his appearance at the opening ceremony, it did not show more about his "work" process. His real killing is actually in the climax at the end of the film. Leon's confrontation with the police, at this time people regard this "killing" as justice, so it is considered positive. In fact, this is driven by an inertial factor, because the life segments before Leon and Mathilde fully demonstrated the positive value of Leon, so we all agree that Leon appeared in the climax as a "good" and "positive" factor. In contrast to Lyon, Stan, although he and his gang didn't appear many times in the film, always appeared in front of the audience as a negative image. Until finally, Stan moved to the whole police station. At this time, this kind of negativity is beyond Stan's tolerance. The whole police station-the state machine of the whole society, that is, the external world described in the film-has entered the negative system, and the direct confrontation between positive and negative points to the theme of the film. When Leon and Stan died together, two opposing value forces dissipated with the soaring flames. Mathilde and the plants in her hands bear the most fundamental values of the film, and also lead to the ultimate theme of the film. Through repeated contests of pros and cons, it reached a climax. In this kind of opposition and confrontation, the main control idea of the film has been naturally reflected. The vivid expression is: Stan killed Mathilde's family (negative)-Mathilde sought Leon's help, and Leon agreed (positive)-Stan found Leon and Mathilde and wanted to annihilate them in one fell swoop (negative)-Leon and Stan died together (negative/positive)-Mathilde found a new place (positive). Luc besson showed his optimistic and positive idealism in the film. To some extent, it is Besson's wish that the film finally ends with positive value. Our hero has her own place, and she is safe. However, pessimism still exists. The tall buildings in the distance still stand there. They are like a threat, which will erode this land again at any time. But Besson's theme is still distinct, which is also related to the commercial needs of the film itself. By the way, here is the theme of "redemption" in the film. This theme was ignored by me in the previous article. When I re-examined the structure of the whole movie, I found it was a very important link. The structure of this theme is generally: someone is looking for redemption because of something or a reason. At this time, an expert was introduced to be his guide and told him which way to go. In this film, the guide is Leon and the person seeking confession is Mathilde. The film does not clearly point out that Mathilde is pursuing some so-called "confession", but the film has completed a person's redemption from beginning to end. Mathilde was bent on fighting violence with violence, and he returned the favor to Stan. This is a barbaric pursuit, and its value trend has been denied by the director. On the one hand, Leon's intervention enriched Mathilde's life and dispersed her pursuit motivation. On the other hand, Leon let Mathilde leave the point of no return of "fighting violence with violence" at his own expense. Finally, Leon took the place of Mathilde and embarked on this road. He avenged Mathilde, but he was swallowed up by the flames of revenge. Mathilde was protected and pulled away from the negative pursuit by Leon in time. She was saved by Lyon, and at the same time, she completed the "redemption" of the film. This "redemption" arrangement is more obvious in Besson's other films. The difference of this link in Black Boy Leon is that he didn't arrange the characters to rely on their own consciousness to reverse, but let others do the reverse instead, avoiding sacrificing the characters themselves and letting the theme continue until the end of the film. Mathilde lost her chance of revenge and her life guide Leon, but because of the redemption given by Leon, she got the chance of rebirth and another world. From another perspective, Leon also completed a "redemption". The process of his cohabitation with Mathilde played down his cruel professional attribute as a killer, and also made him temporarily break away from the pursuit of that cold society and turn to emotional embrace. His final death is obviously symbolic. He got the end of death as a killer, completely cleared his identity as a "killer" and left him in the audience's mind as an ordinary person again. He also bid farewell to the cold world (negative) he pursued forever, and the audience stayed in the memory of his own great humanity. The sincere affection between Leon and Mathilde made Leon "redeemed" and he gained a new identity. Although he died in the film, it only made his theme of "redemption" clearer. Generally speaking, the structural model of this film is very telling and straightforward. All the emphasis is on carving characters, characters' psychology and scenes, and the suspense it sets is not very clear and prominent, which greatly increases the emotional weight of the film. But in several action scenes, it is full of suspense, showing luc besson's accurate grasp of the details (which will be discussed later). Like other European films, Besson pays more attention to the depth of the objects he describes. Most films capture the inner depths of the characters with objective shots, and sometimes add subjective shots to enhance their appeal. Leon saw Mathilde coming towards his door through the cat's eye on the door. Leon's "The Last Fall" is a model of alternate use of subjective and objective shots, which not only creates full suspense, but also goes deep into the characters' hearts and excavates their complex space. Like luc besson's other works, Black Boy Leon, a photographic work with audio-visual style, maintains rich and even bizarre visual effects, which embodies Besson's extreme preference for the colorful image world, which is embodied in two aspects: illusion and movement. The so-called "illusion" of course refers to the dreamy color permeated in the picture. The use of color filters greatly enriches the fantastic colors in the picture. The main color of the whole film is yellow, and the exterior city is low-key, showing a dim color, especially the scene in the second half and Stan. The interior is mostly medium and high, showing a dazzling golden yellow. The two environments are in sharp contrast. The gloomy appearance represents the gloom and coldness of the outside world, while the golden interior symbolizes the rich emotional world of the two protagonists. These two contrasts are not the real world, but artificial coloring, which shows the illusion charm created by the screen image and directly serves the theme of the film. The frequent use of wide-angle lenses is another feature of the film "illusion". The most iconic use is the opening of many large wide-angle lenses. The wide-angle lens itself represents a relatively narrow space, but in the film, the large wide-angle lens and the large close-up lens are almost seamlessly matched, which greatly limits the audience's vision, creates infinite imagination space, and produces strong tension, thus creating suspense. The wide-angle lens is used in the middle scene or sports lens to make the characters appear more flamboyant, cartoon and dynamic. To a certain extent, this also speeds up the movements of the characters, which in turn speeds up the overall rhythm of the film. The wide-angle and close-up used by Stan when he appeared on the stage showed the madness and distortion of the characters to a great extent, with more distortion and higher utilization rate. The use of wide-angle lens makes the characters of past dynasties more prominent, features more obvious, suspense stronger and pictures more exaggerated. Like luc besson's other works, this film adopts a wide screen ratio of 2.35: 1. The use of this proportion, on the one hand, increases the action space of the film action scene, on the other hand, it also makes the characters better combined with the environment. Leon and Mathilde walk in the city as if surrounded by houses, and the width of the screen grid ensures the realization of this "surrounded" effect. When the performance is single or the number of people is small, either a wide-angle lens or a moving lens is used to expand the space in the painting and form a strong sense of rhythm and movement. When filming, close-range and mid-range are mostly used, and there are few panoramic views. The perspective is not certain, but more often it is constantly changing. Some special frameworks have their unique functions. For example, prone shooting often does not show the position and situation of the characters, but reflects the sense of orientation of space and some important details that are ignored. Stan's high-angle shooting usually shows his strange and crazy appearance. It is particularly noteworthy that the film always has a strong subjective tendency to look at the city, mostly in an inclined or irregular way, which has produced a different effect-the city seems to be skewed and deformed, giving people a strong sense of oppression, and the towering buildings look like they are going to collapse. The mirror image of the city is one of the few panoramic views in the film, which undoubtedly increases its symbolic meaning in the whole film, and this symbolic meaning gives its performance object a strange illusion. As for "moving", it is the use of moving lenses. Action shot is luc besson's favorite film shooting technique, which makes his images show strong three-dimensional dynamics. This movement runs through the whole film, and the aerial photography and lifting shots at the beginning and end of the film present a gentle and meaningful movement format. In the middle of the shooting scene, the photography action is more flexible. Photographers make full use of the width of the venue, or push or pull, or shake or follow, to form effective interaction with the great men on the screen, making the action scene smoother. When the lens moves, the scene changes little, and it is rarely pushed from the middle scene to close-up or close-up, and this opposite lens movement rarely occurs. More often, it is from one scene to another identical or similar scene, which embodies the consistency of action and the unity of spatial environment. The lens movement in the film also gives the film a strong sense of coherence and rhythm. This is a montage of Leon and Mathilde. In this montage, there are almost no fixed pictures. Coupled with the cooperation of continuous editing and action vision, the image of "life is flowing" is immediately presented to the audience, and the fast and slow movement of the lens is always consistent with the mood of the characters. Upgrade shots are used in several important links in the film. Mathilde walked through the bloody door and went straight to Leon's home. The upgraded lens effectively contrasts the tension of the scene and pulls the tension of the whole picture full. At the end of the film, Leon also used the push to the light, which also played a certain role in setting off tension, but the greater role was to tap the inner movements of the characters, enlarge the time and space, and let the audience feel the running track of the protagonist from birth to death. Luc besson's slow motion focuses on penetrating the characters' hearts and tapping the visual tension, which is quite different from the pursuit of pure visual beauty by John Woo and others. In addition, the movement of the lens has also caused real and illusory effects, which complement the "lies". Because the objects depicted by the camera are real, photographers usually show a dreamy effect with the help of moving pictures, which is most prominent in the life clips of Leon and Mathilde. The picture itself is dreamy gold, and the smooth dynamic frame enhances the dreamy effect. At this time, the camera movement is generally medium or slow. In the process of running slowly, life is quiet and beautiful. The photography of Black Boy Leon has created a double effect of reality and illusion for the film, which is a creation between realism and expressionism, reflecting reality and adding a layer of subjective color to it, which is also the most attractive point of this film photography. The whole movie mostly appears in short shots. This arrangement is obviously to speed up the pace, increase changes and reduce unnecessary visual fatigue. Even with a longer lens, the camera moves quickly with the protagonist and its spatial position is constantly changing. In a word, it is no exaggeration to describe the editing of this film simply and properly. The continuity between movie studios is often very jumping. The spatial transformation range is large, and the transition in the middle is rarely explained or simply explained. This makes the audience quickly enter the state, and the big jump in space does not make people feel confused, but meets the expectations of the audience. In some montage paragraphs of the film, the continuity of composition is repeatedly used, forming a fast and powerful narrative mode. Grasping the rhythm is the central link of this film editing, especially in the shooting scene, the change of rhythm plays an important role. In the first action scene of the film, the gun battle lasted for the first two-thirds of the time, and by two-thirds, the sound and action seemed to suddenly stop. Then, with a series of gunshots, the whole rhythm began to pick up again, and the lens switching was also accelerated in an instant. Similarly, the fierce fighting in the climax drama also adopts such a technique: fierce fighting-pause-lead to new situations-fierce fighting again. In editing, it is basically direct editing, without any technical means such as dilution or reduction. The grasp of space is mostly explained by moving lenses. Cross-cutting is widely used in action scenes. In the last scene, the five lines of Lyon, Mathilde, Stan, the police and the street outside the battle are operated, which shows the skillful use of complex editing mode. The quick editing of the opening is also a highlight of the film. Coupled with the wide-angle close-up, it highlights the comedy color of the film and enhances the mystery of the film. Voice often plays a very important role in luc besson's works. His voice is always an important symbol of the film rhythm, which plays a decisive role in grasping the overall atmosphere and tone. While the audience is absorbed in the picture, the sound renders the picture, points out the focus of the picture, and causes the audience to pay attention to the situation, narrative or emotion. The transition between sound and silence has formed a strong cross-dimensional sense with the picture, resulting in a dynamic relationship. In short, the sound in Besson's works is always synchronized with the picture and interacts with it. The sound composition of this film is very clear. There are always low drums, messy effect sounds in action scenes, and sometimes it is almost silent (in fact, there are still some effect sounds). All these set off the uncertainty of the picture and the suspense brought by the narrative. Obviously, the handling of rhythm is very troublesome. The sound is intermittent, sometimes a variety of natural sound effects are superimposed together, sometimes silent, sometimes regular, sometimes irregular, which makes the rhythm of the film action scene natural and the picture switching very smooth. The more important role is to set off tension and create suspense. Relatively speaking, Besson's The Fifth Element goes further in this respect, because the action scenes in the film look like exaggerated song and dance performances, and rhythm is undoubtedly one of the most important links in this form. In the performance of daily life scenes, the sound is mainly harmonious and natural sound effects and relaxed lyric music. When the two protagonists meet for the first time, we can only hear Lyon's footsteps, and the background music is the strange guitar sound; In their life scenes, the light and rhythmic chorus becomes the main sound source on the screen. The soothing violin sound runs through the film, enriching the expressive force of the picture space and the emotions of the characters. At the end of the film, the piano sound used by Leon when he falls under the light is the most beautiful sound combination in the whole film. The sound of the piano is like a clear spring dripping in people's hearts, while the sound of Leon falling to the ground is hidden and replaced by the emotional power erupted by the crisp sound of the piano. Throughout the movie, the background music almost never stops, and most of them are the effects of rendering the atmosphere. This sound effect is a non-narrative sound effect outside the painting, but the picture is very compact and almost becomes a part of the narrative sound effect. What really plays the role of "background music" in the traditional sense is the continuous violin sound. Its appearance at the necessary moment makes the whole sound link reach its climax again and again, and becomes an important prompt point in the film. The costumes of several characters are also very interesting. Leon's portrait looks like a "cleaner", with a gray-black tone and sloppy clothes. This is an almost ordinary shape, and what is wrapped in this coat is actually a professional killer with extraordinary skills! Contrary to Leon, Stan's clothes are very decent, always appearing in gray and white tones, in sharp contrast to Leon. And this neatly dressed man is a murderer! Mathilde's clothes are more casual, but her colors are the most, which is also the "bright spot" of the whole movie. Here, costumes also play a role in promoting the plot. When Mathilde followed Leon's example and put on a black hat for herself, she and Leon had already embarked on a road of no return. The action of the characters in the film is as eye-catching as the action of the camera. No matter how the camera moves, how it moves or doesn't move, the characters are always moving, which makes the film feel stronger and the characters more energetic. The speed of character movement is another important aspect that affects the rhythm of the film. Fast movement is always accompanied by rapid switching to produce a strong sense of urgency, and people's movements suddenly slow down from fast, so there will be a sense of tension, which will make the audience guess, and at the same time the space in the picture will become suspense and interesting. Black Leon's style has a distinct personal tendency, but it serves the public. Its specific application skills and specific arrangements are worth understanding and learning. Although some skills are not special, they are combined in different ways in different places, giving new vitality and significance. The style and technique of this film not only absorbs the characteristics of realism and expressionism, but also deviates from it. On the one hand, it embodies the director's flamboyant personality, and at the same time, it shows the self-persistence of the "new baroque" filmmakers.