's favorite movie this year is " Dune 2". There are so many things I like about it. Let's briefly talk about a few moments.
1. The dual nature of "killing" in the coming-of-age ceremony: the sense of slaughter and the ceremonial nature of performance, the sense of the cycle of ancient and future
The story of Harkonnen's coming-of-age ceremony for Fede Rosa is very simple. The little perverted nephew shows off his murder. He has the ability to kill real people and kill the opponent with his hands; the sinister fat uncle accepted it with complicated emotions on the high platform; the onlookers on the scene were shouting for heroes.
At first glance, it feels like seeing ancient Roman gladiators;
Looking at it again, this strange triangular site and the cold industrial style are interesting;
Looking at it again, these thousands of people are like a mountain roaring in the tsunami and are enthusiastic The hero worship makes people get goosebumps every minute.
In a certain shot, looking up from the plane of the arena to the high platform, there is an extremely cold and majestic sense of power.
combines the high-altitude characteristics of architecture and the coldness of high places in the struggle for power into one place, integrating physical and psychological aspects, intuitive and oppressive.
(I didnāt find this scene in the trailer, letās show a group portrait poster)
The highly confrontational killing behavior and the highly ritualized performance behavior, the separation and unity of "killing" and "performance" constitute a very tense complex. tune.
The hand-to-hand performance in ancient civilizations and the future style of the future era in science fiction narratives are both new and old, strange and appropriate, integrated into one.
seems to be a fateful cycle that repeats itself over and over again. "There is nothing new under the sun" is written coldly on every blow, and each punch creates a turbulent and twisted sense of power.
You see, Fiedrosa, at first glance, is a "crazy critic" whose skin is more beautiful than other bald heads.
There is no shortage of crazy comments in various movies and TV dramas. This kind of perverted bloodthirsty + inner loss + shaky characters can be caught in droves.
But in the context of the grander dual narrative of "fanatical/bloody", his bald head, sinister eyes, and the reflection on his forehead all have a different, depressing and turbulent atmosphere far beyond that of "Crazy Batch". annotation.
The shape of his shadow in the opening scene somewhat resembles the bull-head symbol of the Atreides family, which is a bit ironic.
The crowd surged like the ocean waves, and he finally died under Paul's sword. One side lived like a clear and powerful flag, the other side was like a perverted and twisted bloodthirsty demon, and the other side was like a small chess piece that was like dust in someone else's hands.
The perverted little lunatic brutally killed the drugged prisoners. There was no fairness in the massacre (although the last one was not drugged, so rounding slightly meant a fair fight). The same is killing, but there is killing, killing, massacre, and righteousness. When different values āāare assigned to it, the act of "killing" also has different emotional attributes;
The dragon-slaying boy killing the evil dragon is a kind of violent and perverted Killing good people is another.
The beauty of this section in "Dune 2" lies in the juxtaposition of the "carnage" perspective and the "hero worship perspective".
The people of Harkonnen, who were roaring with mountains and tsunamis at the scene, of course held the perspective of "cheering for our heroes of Harkonnen". Watching the heroes judge the remnants of the enemy was heart-wrenching and heart-wrenching;
The natural emotional attribute perspective of the audience in front of the screen was It's different. Look at this bloodthirsty massacre and "the cheers of the crowd" from an objective and neutral third-party perspective, or from a perspective that is more emotionally inclined to the side of the Atreides family.
The difference in tilt and contrast between the two different perspectives creates a strong impact.
They are all the same, with a kind of fanatical yet ignorant martial passion, and a mechanically copied sense of order that is both extremely fanatical and extremely cold.
This set of pictures can be compared with "The Male Protagonist is at the Center of All People". What is behind the neat shouts of everyone, that is the real weight of the story.
(I didnāt find this picture in the trailer, but there was a clip of two people saying āmay thy knife chip and shatterā. Why didnāt I notice when I was watching the main film that his smile was sweeter than sweet tea)
2, atypical male protagonist, walk out The safe zone of "one-dimensional heroic narrative"
I really like the treatment of the male protagonist in the second half of "Dune 2". All his actions are not completely correct; if everything is correct, it is just another standard "black and white" "Opposition" is just a binary segmentation of the story.
But he started to go astray, which is interesting.
Before Paul successfully joined the "Didi Taxi Sandworm Driver" alliance, his character lines were basically close to more traditional and satisfactory heroic narratives.
The yellow sand is vast, the sky and the earth are blurred, in the majestic vastness, the eyes are full of mysterious fog and smoke, the heroic young man finally stands up slowly.
The sun and the moon are eyes, the wind and sand are eyes, the sky and the earth are chessboards, the young man is unparalleled in his handsomeness, "The Story of a Young Hero Driving" is written in bold capital letters.
But after driving Sandworm without a license, Paul's style gradually turned "awry".
(Of course, there were obvious traces of his inner feelings before, but it was not completely exposed in his actions)
He said he took revenge, but it was not a standard revenge model. His mortal enemy turned into his grandpa overnight;
said he led the bitter and powerful people The Fremen walked out of the desert to seek a new life. His "deified status" was to some extent due to the rumors spread by the forces behind his mother.
said that this is all about "the suffering and oppressed people rising up". The future war in this story is probably much more complicated.
Traditional one-dimensional hero narratives often focus on the brave, kind and beautiful qualities of the hero, and the value pleasure of "pure good defeating pure evil". In other words, it is the joy of "flexing muscles" in both spiritual and physical dimensions.
But that's not the case with Dune 2, at least not with Paul.
Revenge is the introduction, and desire may be the real thing;
As for whether the desire is about the past home, the boundless universe, or a half-hearted choice under coercion, there is still room.
Paul had been hesitating for a long time before. Once he pushed a certain wheel, the melee that would engulf the major families and planets in the future would be far beyond the control of one-dimensional revenge.
In the future he could see, corpses littered the fields and millions of people were displaced.
So he resisted at first, but in the end he still "dressed in yellow robes" in disguise and took over the false and real invisible crown of "deification".
You see, people in desperate situations need the spiritual power of faith, and everyone is eager for the arrival of lisan al gaib. And the movie is good to watch because it fully demonstrates the god-making process of the manipulator behind the scenes from the beginning of the movie.
The contrast between the sense of absurdity and control of the "artificial god" and its simple, urgent and intuitive desire makes it far more like a real beast than a sandworm.
"Dune 2" makes people feel so familiar, not because the story motifs are so common, but because the depiction of careerists' "creation of gods" and destruction is permeated with a familiar sense of isomorphism. The male protagonist of
Tiancha is neither a god nor a ghost, neither a hero nor a villain. He struggles in the name of his family, compromises in the name of all people, and twists in the name of fate. What is beautiful is the unspeakable color of "between black and white" .
He borrowed the power of the group that is more divine than a hero, but he is still trapped in the extreme pull that is weaker than ordinary people. One thought was about gods and the other was about demons. He seemed to be stuck in the middle, which was strange to look at.
3. Epic sense
The word epic sense has been used by all kinds of fraudulent propaganda. The film producers seem to have no intention of labeling it "epic sense", but "Dune 2" is really a movie with a truly epic sense. .
's so-called epic feeling cannot be achieved simply by relying on "purely industrial appearance" such as grand scenes and shocking sound effects.
A big scene is "expensive", an excellent big scene is "expensive and beautiful", and an epic scene is "expensive, beautiful and more than that".
When the bomb at the Atreides family was released, it was not the feeling of "rousing one's arms and seeking revenge", nor was it an absolute sense of justice, but a sense of power with a sense of destruction.
is more like a fall than a confrontation versus a blow.
The decent, gentle, elegant and powerful Duke has become a ghost in a foreign land, and it is difficult to rest in peace; the avengers, carrying the hatred of the blood-stricken relatives, surge in, repaying blood with blood, but it is more than that.
Gurney's character line is currently a relatively simple revenge, "fighting the evil of greed and delusion with the courage of Zhou Zheng", full of sorrow and hatred, and desolate and lonely; but the story of Paul's mother and son is more complicated.
The sea of āāāāfire is scorching, the planet is in purgatory, those who come to plunder and those who seek revenge are here to survive, fighting is everywhere, and the smoke is everywhere; the world is a boiling cauldron, all living beings are suffering, and all living beings are the scraps of fate, being boiled and fried many times.
When shooting battle scenes in "Dune 2", the early stage certainly has the heroic wisdom of "the hero and heroine leading everyone to fight hard", and the sense of refreshment and power of a conventional action movie; but the middle and later stages are more of a more confused and powerful one. It has a tragic epic feel, a tragic foundation of people in chaos and the general trend of the world being disturbed.
If the Harkonnen part in "Dune 2", the part where the audience watches the coming-of-age ceremony wrestling, embodies the mechanical brainwashing relationship between "people and the system/enlightenment", then the story of the Fremen and the desert, It focuses more on the "ancient symphony of man and nature". It is as majestic and vast as the Huangzhong Dalu, and is desolate from ancient times.
"Dune 2" plays a desolate duet of human nature between ancient times and the future, between science fiction and fables.
