The English name of "Manslaughter 2" is called Fireflies in the Sun, fireflies under the sun, about this intention, there is such a statement in the movie: when the son was not sick, asked why the fireflies were not bright under the light, the father Lin Rilang replied, "Because the light of the fireflies is too weak, it can only be seen in the dark."
Author: Liang Xiang
Editor: Prince Zhi
Layout: Wang Wei
The streets were full of onlookers, snipers waiting for the opportunity, and police shouting. Finally, in the hospital blocked by the kidnappers, two hostages came out. One of them, a pregnant woman, cried out movingly: "He's not a robber, he's a good man!" ”
This scene in the movie "Manslaughter 2" is a very vivid interpretation of Stockholm syndrome. The hostages have a psychological dependence on the hijackers, and even fate coexists.
This complex is not a rare symptom, but it is universally hidden in the hearts of all people. On the screen, the crowd of onlookers boiled over, public opinion fell one-sided, and the news reporter pointed at the camera; off-screen, the audience was also infected by this emotion, identifying with and empathizing with the kidnapper's fatherly love. In the 3 days of release, the box office of "Manslaughter 2" broke through 300 million, but the reputation was polarized: some people tearfully recommended it, and some people denounced "bad films". The recommended comment section is chaotic, just like another anxious confrontation.
Is "Manslaughter 2" worth watching, and what is the problem? In the movie, who is the kidnapper's gun hijacked?
The father, who is at the end of his rope, is once again online
The original film "Manslaughter 2" is a realistic crime drama film. The film's intention is more toward political thrillers, condemning U.S. health care policy and the wave of insurance exploitation. China's national conditions are different from those of the United States, of course, can not be copied; the story is set in Thailand, the separation of the scene, but also lost the confrontational nature of realism. Therefore, when remaking, it is necessary to find something else to hit the audience's pain points, but also to maintain a certain commonality with the first part of "Manslaughter" and form a series of core coherence, which is a difficult problem.
If it cannot be unified in external form, then find the point of convergence of the kernel.
What is the core of Manslaughter? Manslaughter is a word full of suspense, and fatherly love is the real target.
Therefore, the two seemingly independent films can indeed be integrated into the same series: both are remakes, the introductions are "manslaughter", the producer Chen Sicheng and the lead actor Xiao Yang are unchanged, and it is about a father who pays everything for his children. From an IP perspective, the creators of the "Manslaughter" series are remarkable in their planning thinking, merging two (and possibly even more) originally unrelated movies into a new "manslaughter" series.
"Manslaughter" focuses on reasoning and shows high-IQ crimes, while "Manslaughter 2" focuses on emotions, weakens the brain-burning layout deduction, and strengthens the emotional narrative of the characters - spending a lot of space to portray the interactive scenes between the kidnapper Lin Zhilang (played by Xiao Yang) and his son, so that a father's determination to save his son is established in the audience's perspective.
I have to say that Xiao Yang's appearance is the finishing touch of this movie. The film tells the story of small people fighting against the great darkness for love. The trait required by the protagonist is "small".
Slightly fat, the corners of the eyes are shrugged, the eyebrows are locked, and the flattery is slightly greasy when pleasing people... Xiao Yang's ordinary passerby looks like an ordinary little person struggling at the bottom of society. Such ordinariness, whether laughing or crying, is more real, and reflects the heart of the character through small expression changes on the big screen. It is worth mentioning that the trembling of xiao Yang's mouth and the helplessness of his eyes showed a sense of encouragement. It is also this encouragement that reflects the determination and bravery of his gun kidnapping, so that little Xiao Yang has become a big father.
One of the clever things about Manslaughter 2 in setting up the character is that it gives the little man a different talent from his father: screenwriting. This identity gives the rationality of the characters' behavior, promotes the development of the plot, and also increases the suspense of the film. In "Manslaughter", Xiao Yang expos the movie, in order to help his daughter wash herself, fabricating a chain of evidence. In "Manslaughter 2", Xiao Yang is forced into a bandit by a black official and stages a drama of holding the hospital hostage for his son. The screenwriter's father, in the name of love, let his feet become a stage and make himself a work - after a thrilling kidnapping, we find that the gun is fake, the hijacking is fake, the killing is naturally fake, and even the confrontation with the magnate is also fake. But pain is true, despair is true, family affection is true, and the fight for life is also true. It's the best the screenwriter has ever written, and at the same time, the price is his own life, but it's all a father can give to his child.
If basically no one can reject the mother in "Hello, Lee Huan Ying", then no one can oppose the father in "Manslaughter 2".
It is precisely because the audience knows that every ordinary person is not easy, so Xiao Yang's sentence "We have been honest and honest all our lives and worked hard, but why do we still win you?" "That's what hit people so hard. The main creative team accurately cut the audience's psychology, and used film and television conflicts to amplify the realistic issues: if it is really possible to exchange lives for lives, then every building will be full of fathers and mothers who are eager to save their children. This is a bit of an instant resonance that belongs to the audience.
Therefore, when the door of the hospital is opened and the two hostages appear, it has a different meaning. When pregnant women shouted "he's a good guy" at the crowd, the Stockholm complex spread wildly, cutting the theater screen into a mirror image, and the passers-by who watched the kidnapping were every one of us in the room. So the crowd began to nod, and everyone began to applaud. From this point of view, he is indeed a good person, and "Manslaughter 2" is indeed a good movie.
The unmoved viewer sees what it is
It makes no sense to directly deny the Stockholm complex – cinema is an art of sensibility, and to talk about cinema apart from sensibility is a paradox in itself.
But in the Scene of the Stockholm Complex, no matter what kind of background story the kidnapper carries, the behavior he produces must be wrong. Although under the hostage of the Stockholm complex, there will be people who will accept it completely because of this 20% flash and ignore the 80% fault, but we have to consider what the other part of the people who do not accept this fault are thinking.
This is the underlying logic behind the polarization of the word-of-mouth reputation of "Manslaughter 2": is it the plot that moves you, or your own father?
From the plot point of view, the structure of this article in "Manslaughter 2" is actually somewhat broken. The main story, the joy and harmony of the Lin Rilang family, all flashed with memories. The overly narrated narrative is more like an explanation than the rhythmic advancement of the film itself. Moreover, the suspense is not enough, and the sensationalism is made up. Soothing and sensational music plays from time to time, the lines are lengthy, and the dialogue between the characters is more like a stage play. The slow pace makes the two-hour or so movie lose suspense and confrontation for most of the first half of the time. Although the foreplay is too long, it will make the climax appear more eye-catching, but it also affects the overall quality of the film.
Outside the main line, too many branch lines are inserted, making the script that is not solid enough appear more loose. The supporting characters seem to have a lonely personality, but they are all shallow. Ambitious journalists, kind doctors oppressed by power, policemen who insist on justice... It seems that the group portraits are rich, but in fact, they occupy the human settings and time in vain. The doctor-patient character with the knife, when Lin Zhilang acts, is also ready to commit the crime, originally thought to be a wonderful branch line, but its story is ultimately thin and dispensable, all reduced to tool people. It is precisely because of a large number of interludes and deliberately created reversals that an illusion of a huge world view has been created, and the audience is overwhelmed and has no time to think about whether the plot is necessary, which produces the illusion that the character plot design is exquisite.
The most fatal point is that there is a suspense factor, and it is also attached to the setting of "the heart is too late without transplantation", but the film as a whole has given up the urgency of the countdown in order to sensationalize. When the municipal dignitary took the doctor and took the fake heart to negotiate with the protagonist's wife, in the face of this life-saving heart, the unsuspecting mother did not show longing and madness, but instead asked and talked with extreme calmness. When Lin Zhilang's phone rings, and the couple joyfully shares their hearts to the rescue of their son, the soothing rhythm of the dream almost makes the audience forget that the life of a child is being lost minute by minute.
Not to mention, swat officers will be scared to fall by the grimace toys during the mission, the tense confrontation between the police and bandits downstairs of the hospital, and the magical scene of the methodical operation on the second floor. Here, logic is no longer important, there must be laughter points, thriller points must also have, and most importantly, tear points must be there. Anyway, the gun has been pointed at the hostages, the power of Stockholm has awakened, under the complex, there must be an audience with a flag shouting, and what the film has to do is to draw this flag exquisitely enough. It's a very deceptive film and television magic, using imperfect and clever works to hijack every audience with a gun.
What kind of movie is Manslaughter 2?
It is necessary to understand the audience that shouts loudly, and at the same time, it is necessary to understand the audience that is not moved.
The English name for Manslaughter 2 is Fireflies in the Sun, a firefly under the sun. Regarding the intention of the fireflies, there is a good plot in the movie: when the son was not sick, he asked why the fireflies did not light up under the light, and his father Lin Zhilang replied, "Because the light of the fireflies is too weak, it can only be seen in the dark."
Fireflies, is it an allusion to small insects? Is the Sun Lang in Lin Rilang's name a metaphor for the sun?
Throughout the movie, Lin Rilang is the firefly, in order to emit the greatest light, choose to throw himself into the darkness. He became the sun in the darkness.
Finally, gunfire rang out, Lin Rilang fell, and the sun went out.
The drama of that moment has many angles to interpret: the director uses the voice of the weak little person to shout out the plight of the vulnerable; the PLAN B in the plot points to the ending of this mortality, and also points to the realistic lament of every audience off the screen; the father gives up his life and uses the heart of an adult to continue to live to his son, and whether the son's firefly will become another sun when he grows up... That shot is the unquestionable highlight of the movie.
And we just hope that the gun is behind, and the "manslaughter" universe, or even the film and television universe, can rise the real sun.