movies is the abruptness of two key positions. First of all, after Andre seriously injured Bonsu, he regretted it, retired from the space fleet and returned to Earth. Graf led Ender's sister to persuade Ender to return. After a warm hug, Ender left a line of tears and returned to space. The movie progresses here, almost in the middle. According to Hollywood's routine, this is the stage where the protagonist experiences major setbacks. After that, an unexpected event changed the original trajectory and the protagonist made a comeback. However, in the movie, Ander does not have the feeling of making a comeback, and it does not seem to be a major setback. And without setbacks, there is no turning point, and it is difficult to reflect the level and richness of the script. Why is this happening? The reason is that the film's creator has deleted a lot of Ande's inner monologues and related descriptions, but has not found a most suitable solution. In the first half of the film, those Ander's monologues only become "interpretative paragraphs" in the sense of a play, playing a role in explaining the plot, but they are of little help in shaping Ander's inner activities. In addition, the film cuts out several important parts of the scene-Ander's complicated feelings for Peter and his love for his sister. Here is one more sentence. The original book only briefly explained Ande’s feelings for her sister, and there are some passages where her sister appeared, which is clear enough; and the film uses the email that Ande sent to her sister to link him and her sister. The emotional effect of the affection is not great. This is the difference between literary language and film language. Then say Peter, Peter's role is not only to build Ander's hatred, but more importantly, to build Ander's softness. The soft part is deleted from the movie, and from the beginning, we have focused on Ande's self-protection consciousness. It is no wonder that the feeling of guilt after Ande beats Bangsu in the movie is not so natural. The power of a hug from her sister makes Ande heavy. The return to space seemed a bit blunt. In the original work, Ander’s repeated self-questioning and rhetorical thinking are not seen in the film. In this way, Ander’s growth shows a "jumping" weirdness. The abruptness in the second key position of
is the climax near the end. Ander is a bit of "betrayal", and he completes the communication with the Zerg alone. Based on the reasons mentioned above, and since the early stage of the film was not well prepared, Ander's behavior at the moment has a sense of separation from humans. The novel is better because Carder’s description makes Ander a hero, a messenger, and his "anti-human" emotion is the most human part of him. The movie is a few grades worse. Ander has become a little symbolic, and he has become a person similar to the commander of the US military in "Avatar"-but Cameron is smart. The protagonist of the movie is an alien. Establishing a basic tone for expressing humanity from an "opposite perspective", the commander of the US military is just a villain and harlequin, which is understandable; besides, he is a supporting role-and Ander is the protagonist, and the protagonist can't handle it like this. Without a lot of inner drama, the protagonist's behavior is not convincing. How many protagonists in Avatar gradually fall in love with the details of the Namei world, but the movie "Ander's Game" only has a small game to show it. The level is more than a little bit worse than Cameron. What
said above is mainly about the role of the film, in fact, there are other problems in the adaptation process. The battle simulation room in the novel is nothing but a shell and a form, but it will be challenged when it becomes an image. As a large-scale commercial film, it has to vigorously show the appearance of the battle simulation room, and at the same time, The old kernel in 1985 became the new thing in 2014. And this seems really difficult. The audience has already taken offense, and is really tired of such technical details.
Generally speaking, "Ander's Game" has two major flaws, one is the distribution of the priorities of the drama, which involves the drama; the second is how the image highlights the essence of the novel, which is largely a scheduling problem. The film is fairly well done. There are many beautiful close-ups of Ender's face. Butterfield's facial "microphysical" performance is also very good, but the photography style is very problematic. The balanced composition is a bit too much, and the director is not adequate. Use the space outside the painting-it's silly. During the lunchtime, the students had to leave Bernard to join Ander's schedule, which was quite unsuccessful at first glance. I personally think that the movie should abandon the too static camera position, hold more hands or pan the camera, otherwise it will be too rigid. Looking at the scene where the black sergeant appeared again, there was nothing new-but then again, it was hard for Gavin Hood to have the jewels of the opening scene of "Full Metal Shell" in front.
At this point, the conclusion seems obvious. The original work seems to be more suitable for literary science fiction films. . . . . .
picture fromNetwork
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