Basically, the film has a relatively high degree of completion of the novel, and it retains a lot of essential fragments. It is clear that the director still respects the logic and IQ of the original story. In the movie, because there is no "the bond between the two people's feelings," Hardy, it is a more positive description of Yi Huxin's goodness. To sum up the feelings of the two, Yifeng is more psychologically contested in the novel, and more emotional, and Yifeng is more interactive in the movie, and Xin Xiaofeng can even get back a game. The novel doesn't mention the first scene of the two people at all, but the movie is full of colors.
is probably because of the origin of the author of the novel, the legal evening newspaper reporter, and his experience of the strangeness of the world, and the diversity of real human nature, that makes this atypical character to create. Although each character has its own coordinates as soon as they appear on the scene, as the story develops, each person's position will move more or less. This "migration of good and evil" is embodied in concepts and even more in behavior. Compared with the complete and rich "human nature good and evil coordinate map" in the novel, the film's coordinate map appears relatively unbalanced and thin. The main focus is on a story full of strange feelings and coincidences, but lacks some depth of critical thinking about human nature.
, through the details of Xin Xiaofeng's notepad with straight characters, further expressed the theme of "death is the end": death is the ultimate relief of sinful souls, so it is not terrible to fall shoes. The movie describes the story of the low-level characters. A fugitive who committed rape and murder kept doing good deeds to atone for his crimes, but he was always worried, knowing that his shoes would eventually fall. If these are not loves, when he ran into Xin Xiaofeng and Taiwanese physically entangled in the secret room, in the close-up of the film, his expression was shocked, unwilling, humiliating, and a touch of jealousy.
"The Scorching Sun" is one of the most anticipated movies in my summer archives, a rare genre of police and criminals in the Mainland. However, leaving with expectations, after all, it was disappointed and returned. The whole film is a strong domestic police and gangster TV series. It is dragged and far-fetched. Can't you make a logically rigorous and exciting genre? The film's rhythm and editing are also at the level of TV dramas, as plain as water, with occasional fluctuations. The scene of the rooftop shootout was good, with jokes, black humor, and tension with life hanging by a thread. Some details of this film are still well presented. The role of Xin Xiaofeng has been well shaped by several police calls and interaction with the tail.
It’s a bit slow and slow. After the introduction as the background at the beginning, the lives of several people are gradually opened up in detail. Those who hide in the ordinary life, try their best to dodge and flee, become more and more. Hair attractive. It stands to reason that Chinese movies with such themes are not so good-looking, because it is too easy for the theme to go first, and it is too easy to hold and directly output the truth. The director Cao Baoping's festival made this movie. He is only responsible for supporting a pre-supported suspense with a tight story. This film, to some extent, fills a gap in Chinese medium-sized feature films. The movie
was not made better, and most mainstream cinema films cannot be treated as a pursuit movie at all. When "Scorching Sun" appeared as a melodious storyteller, I didn't plunge into the dark story of heavy rain and scorching sun. Throughout the movie, even if you recognize Yanwu Bridge and Twin Towers, it has little to do with Fujian or Xiamen. Similar regrets also occurred in "Left Ear". Somehow, these films chose cities full of regional and cultural characteristics, but gave up local dialects, which is really a pity.
