Li Weijie's family.
[spotlight]
For domestic remake movies, as long as they are not copied or made in a crude manner, we don't need to sneer and talk about it. Because even with the same script, even with the pressure of jewels, the reconstruction and innovative interpretation of different directors and different creative teams can bring shocks and surprises different from the classics to the audience. The recently released "Manslaughter" is a remake of the Indian film "Manslaughter". Whether it is in the adaptation of the plot, the grasp of details, the level of actors, or the shaping of values, it has a good performance.
is more dynamic than the original version
"Manslaughter" is indeed a good story. In order to protect the family, the decent male protagonist buried the corpse to cover up the truth, and the villain’s female chief was desperate to investigate the case in order to protect the family. Two families and two classes launched a "cat and mouse game"-style desperate contest around the same case. In "Manslaughter", the essence of the original film has been well inherited. The director continued the original film’s distinctive characteristics of the lens language, using a lot of cold tones and interlaced time and space montage editing techniques, and at the same time carried out the plot Adapt it reasonably, switch freely between creating nervous suspense and presenting a wonderful reversal. The main change of
"Manslaughter" is reflected in the narrative rhythm and dramatic tension of the plot. In terms of narrative rhythm, Indian films take three or four hours at every turn, which is not a good thing for suspenseful detective films that pursue a tense rhythm. The domestic version is free from the burden of length and is more flexible in plot layout and presentation. The director deleted the long life scenes in the original version that had nothing to do with the main plot, making the story rhythm more compact and capable. In terms of drama tension, "Manslaughter" makes several changes to the original plot, which feels like a "two-two-handed". The first change of
is the appearance of La Yun (Chen Chong). The detection of a suspenseful murder case fully portrays La Yun's shrewd and capable style. This kind of foreshadowing can reflect the confrontation intensity of the subsequent plot more than the direct appearance of the original version. The second part is the escalation of the contradiction. The secret filming and bathing of the original story is upgraded to drug abuse. The case of the male protagonist is more convincing. The third is to change the Indian version of "listening to the scriptures" to "watching Muay Thai". The director cross-edited the martial arts scenes in the Muay Thai ring with the scenes of the "rich second generation" beating Ayu's mother and daughter, which not only echoes the story, but also adds Antagonistic. Three changes have brought the story to a climax step by step. The image of
"sheep" runs through the whole process. Although
is a new director, the consciousness of using lens language for auxiliary narration in the film is also in place. I believe that many viewers were deeply impressed by the scene where Ra Yun threatened Li Weijie (Xiao Yang)'s youngest daughter "An An" at the police station. Under the backlight processing, the police chief slowly pressed a huge dark shadow on the little girl "An An", and the switch between the overhead and the overhead shots formed a huge visual oppression, making the audience and the plot quickly empathize, as if He is about to be swallowed by the shadows, and the whole person wants to curl up into the seat unconsciously.
is also wonderful in the scene where the coffin is opened in the heavy rain and the corpse is opened in the heavy rain. The director used slow motion for most of the time, the rain falling, the anger of the crowd, the despair of the family, the arrogance of the bad police, the thoughtfulness of the hero, and the disregard of the chief. Everything is still and magnified under the processing of the camera. The slow motion speeds up the rhythm of the plot and powerfully creates a suspenseful atmosphere. At the moment when the camera returns to the normal speed, the mystery is revealed. The male protagonist completed the final under the heavy rain and the witness of everyone. one strike.
The multiple appearances of "sheep" in the film can be understood as a symbolic presentation of the connotation of the film by the screenwriter, which is another lens language. The author is most impressed four times. From the beginning, the sheep saw the male protagonist throwing a car by the lake, which implies that the male protagonist was guilty; to the police attack, the sheep was killed by a bad policeman, implying that he was punished instead of the male protagonist; At the climax, the coffin was opened and the corpse was replaced with the corpse of the sheep that was shot last time, meaning to help the male protagonist conceal the truth; finally, the male protagonist surrendered, the temple bell rang, and the happy living sheep reappeared, implying that the male protagonist had put down his heart. .
"Sheep" imagery runs through the film. On the one hand, it forms and echoes with the English title of "Manslaughter" "Sheep Without a Shepherd" (literally translated as "Sheep Without a Shepherd"); on the other hand, it also implies the local public security environment. , The sheep prayed for peace to eat the grass and live their lives, but the authority (shepherd) no longer protects the sheep, but instead becomes a butcher, the sheep can only rise up to resist.
family comparison reflects moral choice
has pearls and jade in front, a remake film wants to have a place in the hearts of the audience, it mustGive people a new touch and inspiration outside the story. Obviously, suspense reasoning is only the "technique" of "Manslaughter", and moral choice is the expression of values on the "Tao" side of the screenwriter and director.
In this "manslaughter" story, two families from different strata are forced to engage in a desperate contest. This contest is not only reflected in the unequal class status, but also in the unequal parental values. "The rich second generation" Su Cha’s father is powerful, but busy with political struggles, and never fulfilled his father’s responsibilities. On the other hand, the male protagonist has average income, but his child has an accident. His first choice is to come forward. Keep in front of the whole family". It can be seen that the care and protection that parents can give to their children has nothing to do with money power, but with value choices.
The male protagonist made two choices in succession. One time was to protect the family, fabricating evidence and concealing the truth; the other time was also to protect the family, surrendering himself, apologizing and confessing, and portraying the image of this Xiaomin’s father tall and straight . In fact, it is not difficult for us to understand Li Weijie's first choice. It was helplessness and resistance to public order. What is confusing is the second time, since the plan has been successful, why choose to surrender? The reason that prompted him to make this choice was also his understanding of the role of his father. After
"Shuangju", the director cut into the conversation between the male lead and the couple on the balcony. An An painted the "70 points" on the exam paper as "100 points". This small act made his father look solemn and blame himself. He realized that he could only stand up again and use behavior to correct the child's values that may have been alienated.
□Lin Zhonglu (film critic)
