Ask con air or the escaped prisoner for a film review.

See the comments in the previous two articles for details.

/subject/1300618/comments? Start =0

Fugitive:

The plot of this film is complex, and the compactness of the narrative leads to some unclear plots. Not as perfect as Air Force One, and not as exciting and nervous as many scenes in True Lies. Perhaps this is not the intention of the writers or directors-they try to make it wonderful in the plot. Overall, the plot is good. However, what impressed people most was their sincere devotion in the serious process.

Richard King Kimble, played by Harrison Ford, is a doctor with extremely nervous eyes almost all the time, far more real than the perfect president in Air Force One. He was forced to always walk with his head down and look around. He is no longer the enviable doctor at the dinner party, but a fugitive. He got into the sewer, crossed the cold river in winter with injuries, and ran in panic by the river in a dead tree on the night when the helicopter circled, and was torn off by a brave young female nurse. He does live in the cracks like the protagonist of all commercial films, but he is not handsome. Even in the scene where he ended up with the real killer, there was no scene where he swept his opponent. There was no affair on the run. Only endless escape and struggling to ask the truth in the quagmire. This image is moving. Through him, the characteristics of the film are revealed: it has neither the obscure brushstrokes that art films will dig deep into everyone's appearance, nor the sensational and artificial atmosphere created by deep commercial films, nor the conceptual symbols that are mechanically and easily inserted like the simplest commercial films.

Such measures are valuable. There are no more than three lyrical parts that everyone can experience in the film, and the pause in each place is no more than ten seconds. Lyric content involves kindness, friendship and liberation respectively.

In the county hospital, although the doctor disguised himself as a handyman, he couldn't help but change the diagnosis of a black child. In the elevator, he quickly changed his diagnosis and talked to him. He frowned and wrote quickly, but the conversation with the children was full of goodwill. The child answered him, and he said more without thinking. And sent him to the operating room. He turned and walked away, just looking at the child in front of him, and there was a tired smile on his fleeing face.

Explaining the scene, the director said it was for his father. His father is a doctor and has been a doctor for many years. I really like the director's explanation. This feeling didn't make him exaggerate the image of kimble at the moment. The music really started at the moment when kimble changed his diagnosis, but it was soft and slight, and stopped after the child was taken over by another doctor. Kimble's close-up is only three seconds. Everything is full of the beauty of real life. In the history of film and literature, there should be countless such details. But as long as it is still sincere, it is still beautiful.

The film will not explore kimble's psychology towards life and society during his escape. Its purpose is to tell stories. These plots are short and pithy, which makes people feel that this is not the arrangement of the screenwriter and director, but the life itself. It's cold and objective-no one is full of emotions when chasing and avoiding. However, it is always when we don't pay attention to ourselves that the real warmth will be revealed-similarly, it is short and weak, and it is a moment. Just like in real life, the plot continues before it is over. The simplicity of such a commercial film is unparalleled at this time. It doesn't pursue cold or warmth, it just moves forward like a man-or rather, like a man.

In this film, the role of women is very low. And doctors and nurses' assistants, all passing by. But it does not affect the charm of the characters in the film at all. The characteristics of this film also come from this. It plays down the lyricism in the plot, but it plays down the feelings in the characters. There are few emotional relationships in the film except conspiracy and objective relationships. The only and most touching relationship is the friendship between kimble and the marshals. They only met three times in the whole movie-although they were at opposite ends from the beginning. The first time in the sewer, kimble raised his gun and shouted to the law enforcement officers, "I didn't kill my wife." The law enforcement officer who raised his hand said firmly, "I don't care." The second time was a chance encounter, a wonderful cat-and-mouse game; Finally, the bailiff got on the bus and took off the handcuffs. Kimble said, "Didn't you say you didn't care?" The marshal smiled and said, "Yes. No matter. " He knocked on the window and the car flashed out of the crowd.

They actually had contact only a few times. However, for marshal, kimble always troubled him. To solve the problem of kimble's whereabouts, we must sort out his past again. He is still chasing him desperately. However, my doubts are growing. The film did not explain his guilt, nor did it show any warmth beyond his position. He is serious, but he can still tell jokes. He understood the loopholes in their work, but he remained calm. He has only one purpose, and that is tracking. His distress is only related to this matter. Marshal is a very attractive figure.

His wisdom, intuition, sense of humor, and iron-fisted personality are as pleasing as a fashion designer who likes to add a little red to his work clothes. He happened to form a wonderful landscape with Dr. kimble, and Dr. kimble was silent and inferior, but he won every time with amazing courage. This is why its structure is not good, as mentioned above: even the best structure is worn away because it is too rigid, leading to people.

Compared with the live stage, the film adopts lens narration, which has the advantage of dazzling interspersed presentation. So, perhaps, just as drama must dig deep into the scene, movies can bring this kind of lens narrative to the extreme in rich and colorful storylines. The film plays the role of cat and mouse meticulously. This is also the sincere investment of the producers. Give full play to your imagination to carefully set up the wits and wits in the chase scene. The plot is easy to understand, but it is not conventional. One of the most wonderful scenes is that kimble meets the bailiff at the police station. The director said it was a coincidence, but there may be such a coincidence. This coincidence is very good. Didn't push the plot-Marshal didn't catch kimble in the end, so he didn't do it out of laziness. This may come from the writers and directors' own love for wisdom: Marshal goes up the stairs while kimble goes down. Neither of them knows that the other is here. They are wandering not far from a certain floor. Marshal suddenly turned and ran to the stairs in kimble to look down. Saw a figure running. He shouted "Richard!" Kimble instinctively raised his head. The look in their eyes at that moment was unforgettable. This is a confrontation between two elites.

A subtle intuition, an action full of psychological mystery. But it is so natural! Don't show off psychology and sixth sense. Nevertheless, without much pause, the pursuers and fugitives began to run again. After a series of dramatic plots, kimble joined the joyful parade. Marshal finally missed.

These plots don't seem fancy. What's interesting is not the chance, but the ever-changing energy that generate shows when people are in danger or emergency. It presents an extreme interaction between physiology and psychology. Of course, we will be moved by the sad father's psychology in the son's room, although he seems powerless; But Dr. kimble, who lost his wife, not only tried his best to cope with the danger and the future, but also touched us. That's another reality. In life, the undercurrent is real, but the surface is not necessarily true. It has a cold sense of life, but it is also precious. Just like the smile that Marshal finally gave him, it was short, sincere and ambiguous. Like an opponent, like a brother, like a friend, like a marshal to a good doctor, like one person to another.