The full text is about 3400 words
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The Lamentations of Richard Jewell is a new work by Clint Eastwood.
There is indeed much to be said about Eastwood.
Many people don't like the somewhat lengthy transliteration of Eastwood, and are used to calling him "Eastwood."
Higashiki was born in 1930 and is now 90 years old; but to this day, he is still as strong and tough as when he was young.
This spirit of "tenacity" can almost be said to be a kind of "stubbornness".
Toki became known to the world when he starred in "Red Dead Redemption" at the age of 34.
After completing the "Dart" trilogy in succession, Toki began to become a symbol of the "Western Cowboy", and he also starred in several Westerns at this time.
It was also during this period that Toki, who had accumulated a lot of acting experience, began to try to "direct"; although it cannot be said how successful, it also laid the foundation for him to become a good director in the future (of course, even in the period when the director's ability was not yet mature, Toki was able to produce some quite classic and outstanding works from time to time).
It wasn't until the 90s, when Toki was 60, that his director was finally fully revealed.
1992's "Unforgivable" won the Oscars for Best Picture and Best Director, two of the most important awards that year, and if it were not for the fact that Toki had already received such honors, perhaps the best actor would have belonged to him.
Since then, Toki has maintained an extremely high production of one film for at least two years, and most of the films are quite good.
From the total data, in the 28 years since 1992, Dongmu has directed 20 works with a Douban score of more than 7 points; such a high production can maintain such a high quality, even in the history of world cinema, it is rare, not to mention that Dongmu started at the age of 62.
As a director, the most valuable thing about Higashiki is not the high output and high quality of his works, but the diversification of content and themes.
"Unforgivable" is the end of the "Western", broken first and then established, becoming Toki's summary and subversion of the past "Western Cowboy" image.
"The Dream of the Covered Bridge" focuses on love and marriage, and is the expression of Dongmu's cold and hard style in warmth.
"The Doubt of the Change of Sons" focuses on the government, crime and the courage of a mother, and is one of the few films in which Toki does not star herself, but the heroine Angelina Jolie still perfectly carries the tenacity of Toki.
"Million Dollar Baby" is a boxing sports movie, and it has changed the style of the previous sports movies that simply pursue passion, and the overall atmosphere is solemn and cold.
These include "Captain Sully," "The Mule," and "Lamentations," based on true events in recent years.
It doesn't even take much recollection to recall that many of Toki's films, even if you've seen them once many years ago, are still unforgettable.
The unique temperament that has always been consistent in Toki's films can be found in each of his films.
And from "Lamentations", what I see is the "hero's end".
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Of course, there is no so-called "spoiler" problem in this story, because it is a real event.
During the 1996 Olympic Games in Atlanta, at 1:15 a.m. on July 27, a serious explosion occurred in the central square of the Olympic Century Park.
In the explosion, 110 people were injured and 2 died.
The 113th and 114th victims were Richard Jewell, the heroic security guard who found the bomb, and his mother, Bobby Jewell.
The story is actually quite simple.
Richard Jewell, who had been protecting others since childhood, was forced to resign because he was too keen on maintaining order, received numerous complaints in his police and security work.
During the 1996 Olympics in Atlanta, Jewell became a security guard to protect Century Park for celebrations.
During the patrol, Jewell spotted a suspicious backpack, and although the other officers thought Jewell was making a fuss, he reported it according to the rules.
And this suspicious package turned out to be a control bomb.
Although the people in the square were evacuated in time and a large number of civilians were protected, they still caused heavy casualties.
Due to poor protection at the scene, the FBI, which tracked down the "bomber", had no way to start, and finally decided to start the investigation from The bomb's first finder, Jewell.
Of course, this kind of investigation line of thinking is no problem, because there have been many vicious incidents of "thieves shouting to catch thieves" in the past, and Jewell himself does meet the psychological profile of such suspects.
The problem, however, was that FBI officers revealed the news to reporters for the Atlanta Gazette, sparking a public lynching of public opinion.
After 88 days of police investigations and media bombardment, the FBI abandoned its investigation into Jewell due to insufficient evidence, declared his innocence, and captured the real culprit, Eric Rudolph, in 2003.
There is no doubt that Richard Jewell is a hero.
He wanted to be a hero from an early age, and therefore tried to be a hero as much as possible in his work and life, but he faced not the support and encouragement of others, but the ridicule and slander of his fat body and idealism.
At the end of the film, Jewell loses any trust in the institutions of power and presumably abandons his ideal of becoming a hero.
Maybe modern society really doesn't need "heroes" anymore.
Perhaps modern society is the end of all "heroes".
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If we think carefully about the actual meaning of "hero", we will find its association with "individualism".
The so-called "heroes" must be different from ordinary people, or even beyond ordinary people.
"Heroes" are always a strict self-disciplined image, they force themselves to have the will and ability to surpass ordinary people, and force themselves to become the spiritual leaders and self-made idols of the world.
"Heroes" can never fit into any group, they are either excluded from the group or as the head of the group.
Even whenever we mention a "hero", we first separate him from everyone else and never compare.
In short, "hero" is the antithesis of "collectivism."
"Heroes" despise "collectivism" deep down because they believe that any achievement of any "collective" is built by the individual; and those who can build achievements are naturally superior to others and have the right to be called "heroes".
"Heroes" also oppose "collectivism" in their actual actions, for they can hardly integrate into others, they cannot succumb to boring work that is boring and boring and that all can accomplish; and only those who undertake irreplaceable great work have the right to be called "heroes".
Of course, I've never been a compliment to things.
"Heroes" and their "individualism", or "collectivism" on the opposite side, are not in themselves about right or wrong, but only on the likes and dislikes of subjective perspectives.
It is only in some periods that "individualism" is refuted by the mainstream forces; in others, "collectivism" is rejected by the mainstream.
No matter what kind of concept, it is not related to right or wrong, but only whether it is suitable for the current era and society.
Today, "individualism" is a faint voice on the verge of extinction and repeated rebuttals.
Right or wrong, good or bad.
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Like all of Toki's films, what I see from the protagonist Jewell is also the "individualistic" temperament of Toki.
In the era when Toki lived, the "American Dream" had not yet been shattered.
People in that era still believed that "hard work gets", and also believed that everything needed their own hard work and struggle, and hard work and struggle could also make themselves get everything.
The people of that era also believed in "fairness, justice, and the American way," in the corrupt and degenerate organs of power, and in the "right to live, to be free, and to pursue happiness," which were innate human rights.
It was an era of "heroes", and therefore an era of heroes.
And that era has finally passed.
In the next generation of filmmakers after Toki, we can clearly see this.
A new generation of filmmakers no longer believes in the "American Dream" and all that it represents.
They are either critical, sarcastic, or evasive, but none of them are willing to believe.
For them, "individualism," like the American Dream, is a dead history from birth.
They may remember, but have no intention of pursuing.
But for Higashiki, this is not the case.
The "American Dream" is the spiritual pillar of Toki's generation, who were born in that era of "faith" from an early age and built their lives brick by brick with this belief.
But suddenly one day, this "faith" collapsed.
Without warning or defense, the "American Dream" was shattered by reality.
And along with them was shattered an entire era of people and their lives.
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For many people of that era, they were lucky because they died very early.
They do not need to bear the destruction and harm of the new era for themselves, nor do they need to bear the pain and wandering of being abandoned by the whole world.
In their own deaths, they seek peace.
And for others of that era, they were equally fortunate because aging had captured their fighting spirit and voice.
They know they no longer have power, so they give up fighting; they know they have no one to listen to, so they give up speaking.
In their own silence, they also sought peace.
But Toki is still alive, and he still has a voice.
He will not compromise with this age, even though he knows it is over.
He will not change his will, even though he knows that his power is also getting weaker and weaker.
He wouldn't give up on his usual pursuits, even though he knew that even if he did his best, he wouldn't be able to change the world anymore.
Still, Toki is as always.
He examines the modern era with the eyes of the last century, and confronts the modern with the will of the last era.
He will never be like Scorsese, with a "Irishman" to commemorate his old age and loneliness.
He will only fight against the inevitable aging in the same tenacity, coldness and struggle as always, and gladly meet the inevitable defeat.
We can say that this is "stubbornness" and that this is "inflexible".
But for the 90-year-old Toki, is it right to adapt to this era?
In Toki's films, there is always a loneliness that cannot be dissipated.
Because his contemporaries either lost their lives or their voices.
Because to this day, few people are willing to understand the depths of Toki's heart.
Because Toki always understands that no matter what the cost, his struggle will inevitably be lost.
But in the inevitable defeat of the struggle, Toki will eventually win.
Because of all his indomitability and tenacity, he will always be engraved in his images and music, and at some point in the future, he will touch a soul willing to understand.