How to evaluate the film Silence?

Compared with Labyrinth of the Mind, the film language of Crying Out is more skillful. The use of lens language is limited, and many details are paved with the roundness of debut. This relatively textured photography and painful action design.

However, these advantages are familiar. I will think of a series of Korean crime movies, such as The Yellow Sea and Seeing the Magic Man. Li Hongbiao, an action designer, did participate in the production of Hot Pot Hero and old boys.

In the conversation between Truffaut and Hitchcock, there is a saying that the audience is confused by what is said rather than what is shown. In the book, Truffaut regards this sentence as the basic rule of a movie.

Zhang, the leading actor played by Song Yang, is dumb in the movie "Crying", which undoubtedly coincides with the basic principles of this movie.

It's just that Zhang's mute is caused the day after tomorrow. Through his wife's mouth, we know that he was bitten off in a fight. This line tells a lot of information. First, Zhang is a vicious person. Secondly, Zhang Baomin's fighting ability is exercised in life, and he is not a super-human being, which makes a reasonable foreshadowing for many action scenes in his films.

There are many such behaviors in the film. For example, why did Wujiang, the coal mine owner, build a virtual hunting ground? For example, why has the one-eyed butcher's son been in a state of aphasia? This is not directly said in the movie, it is shown. It was not until the mystery of the ending was solved that this layer of behavior that was not directly stated seemed to have an answer. On the timeline of the movie, the virtual hunting ground of the coal boss and the aphasia of the butcher's son both appeared after that key event, and they happened to be related figures. At this point, everything became clear.

This is a movie skill that is displayed, not spoken. These are some of the many advantages of Suddenly Silence, and there are many similar ones, such as the scenery behind the cave, such as the painting on the end wall, such as the broken arrow.

What is shown, not said, still has room for creation. The coal boss's room is left unlocked, and there is no contrast between the deep caves and the desolate mountain villages and the cities.

These are all movies. This is what people often call a sense of film. Speaking of film sense, the coal boss and Zhang played in the film have an action scene on the mountain, one of which is a close-up of foot struggle, which is only available in movies. Of course, this scene is easily reminiscent of the police station at the beginning of No Country for Old Men. It is not clear whether Xin Yukun has used it for reference.

Wujiang is the most special in the appearance of the characters in the film. Later in the picture, there is a close-up of eating tomatoes, and then in the following story, there is a close-up of eating a table of mutton slices with his forefinger moving. A character with a good appetite is vivid, so it is logical to ask the other party to sign the pledge. This kind of demeanor fully conforms to this character.

However, in addition to satisfying these elements of genre films, some paragraphs in the film left a slightly regrettable impression on me.

Of course, except for the outcome that conforms to the socialist core values, after all, China is like this.

I want to say that the regret lies in the surreal escape scene. The more I think about it, the more I feel that this is a detailed plot. The story here can be completely changed to a third-party perspective. As mentioned above, the lens appearing in the cave from behind Zhang has hinted at this. If there is no escape scene behind, looking back at this back and forth perspective will be particularly amazing. Wang Xiaoshuai's The Intruder is very advanced in the application of this perspective. Among the intruders, Lv Zhong was the protagonist of indoor dining, and the portrait of her dead husband was hung on the wall. After that, the camera turns and the angle of view becomes portrait angle. After that, this ghost perspective began to run through many subsequent plots, which is the advanced application. Unfortunately, however, Xin Yukun concretized this point. As a suspense type, once it is concrete, the suspense will be broken and McGovern will be invalid. Moreover, this treatment has also been used in crimes in rural areas of the United States, so it is not new.

Why is this a repetitive plot? Because there are pictures in the later plot, there are three characters in the picture painted on the wall by the butcher's son. According to the status of the characters in the picture, all the information has been explained clearly enough. So the functionality of these two plots is actually repetitive. If I keep one of them, I think it is obviously better to leave the latter.

Another regret is that when Zhang faced the wilderness, the bridge behind the mountain collapsed. If he put it behind the butcher's son's painting, his sense of strength would be much stronger.

Split Mountain is not only the externalization of Zhang's inner emotional collapse, but also the silent cry of the silent hero.

In this picture, the movie stops, fades out and ends.

If this is the ending, I can add one point to the movie and give it eight points.