The "bullet" flew for two months.
In the past two months, I have held up honors, stirred up hot topics, and ignited expectations.
It has also been caught in rumors, controversy, and slander.
Sir finally waited for today.
Everything is gone, then, the work speaks —
"The Determination to Break Up"
Decision to break up
South Korean director Park Chan-wook won best director in Cannes for it.
Tang Wei was also once considered a strong contender for this year's film queen.
It has satisfied the appetite of domestic film fans.
Yesterday, the movie was finally launched on the streaming platform, and Douban has now poured in 7,000+ scores, with a rating of 7.9.
Sir also immediately stayed up late to read it.
Previously, the topic focused on actors -
Park Chan-wook used the royal screenwriter Jung Seok-kyung (who has collaborated on works such as "Miss", "Kind Gold", "Bat", "Robot Love" and so on), and almost tailored the script for Tang Wei and Park Hae-il.
He wanted Tang Wei, wild, and mysterious.
He wanted Park Hae-il, astringent, and gloomy.
However, after watching the film.
Sir thinks it's more interesting to play with stories, or rather, storytelling methods.
I have to say that Korean movies have taught us another lesson.
A film stepped on three common types in China, but it told a unique personal novelty.
It's not just about picking the right actors.
What's more, it's also a high-level breakup story, a reality story, and a women's story.
01
"The Determination to Break Up".
The focus is not on "breaking up", on "determination".
It's a story of not wanting to break up.
So the film is always hesitant in an ambiguous emotional range.
It is difficult to analyze the feelings of the male and female protagonists with a simple "love or no love".
Sir can give an example.
A little black story that circulated on the Internet:
Mother and daughter, the mother died, and the sisters attended the funeral
At the funeral, my sister met a handsome distant relative and fell in love with her at first sight
But after the funeral, the boy was gone, and the sister couldn't find anything
After a month, the sister killed her sister
Why?
The answer was that my sister wanted to see the man by doing another funeral.
Fantastic?
The story of "Breakup" is roughly like this.
One day, the criminal police officer Hae-joon (Park Hae-il) finds a corpse at the foot of the mountain, a middle-aged man, Chido-soo.
The deceased had a Chinese wife, young and beautiful, named Ruilai (Tang Wei).
When the wife came to identify the body.
She didn't show much sadness, but was calm, even laughing.
The police investigation found that Ruilai had been subjected to domestic violence by her husband for many years.
Even, her husband regarded her as a private property, and tattooed his name on the private part of the woman's lower abdomen.
Women have great motives for killing.
However, as a caregiver for the elderly, she had perfect alibi on the day her husband was killed.
Is the murderer her?
In the process of solving the case, Hae Joon gradually fell in love with this widow.
He even forgot his responsibilities as a husband and a policeman, and his eyes became more and more unable to take away from Rayleigh's body.
The "kind" of love that Hae Joon and Rui Lai produces is intense, but not lasting.
Thirteen months later, Hae Joon and his wife moved to another coastal town, where he once again received a rare murder.
The deceased was Relai's new husband.
What is the motivation?
Rayleigh was very calm: "To talk to you face to face, there must be at least one murder case." ”
This time, the murderer must be her.
No spoilers.
Can look at Park Chan-wook's past works, "Old Boy", "Kind Gold", "Miss"... Which one is not a reversal reversal and reversal of ups and downs.
And there's one thing these stories have in common:
Humanity outside of conflict leaves blank.
For example, "I Want Revenge", a cruel and rugged revenge story, Dongjin finds the "indirect" murderer who drowned his daughter, from an honest man to the last cruel murder and dismemberment of the body...
But Brilliance is not in the case itself.
Rather, humanity is revealed under the fury.
When Dongjin trembled in the river and asked the murderer, "Do you know why I killed you", his eyes were desperate and remorseful.
The dagger of revenge turned into words and plunged into himself.
"Breakup" is similar.
Park Chan-wook is still using an exaggerated drama as a lead.
Let a police officer fall in love with a woman who uses "murder" to meet her sweetheart, fall in love, and break up.
Under the story of catching the horse, dig deeper to see the subtleties hidden in this layer of lust flow.
A few details.
Rui lai was summoned by Hae Joon to the police station to make a record, and it was already dinner time.
The takeaway ordered by the man is sushi that his wife does not like to eat.
After eating, the two silently arranged the dining table.
The camera doesn't directly give the expressions on the faces of the two people.
But it gave two pairs of orderly hands.
The two worked together to clean up the traces after "stealing food", tacitly and self-evidently.
Tacit understanding is the prelude to crossing the line.
Next up is a set of controls, also with both hands.
Hae Joon and his wife, the weekly "routine", Hae Joon's wandering mind, and the paralysis of his wife pressing on his arm.
Make the two pairs look no longer on the same plane.
Of course, this is not just a simple cheating dog blood tablet.
From a pair of hands to the same frequency.
To the closeness of the two hearts.
In the middle, you have to cross the mountains and the sea.
02
Park Chan-wook hides the ups and downs, obstacles, and even real dilemmas in this relationship in the picture.
Less is more.
Silence is better than sound.
For example, it shows the wonderful and strange fates between the characters.
The film uses montage-style transitions several times.
Weaken the sense of space and break down the barriers between plots.
For example, to show the doubts in the case.
For a normal head-to-head hit, just tilt the camera a little.
Remind you --
What is a corpse "looking" at before dying?
Of all the lens languages, the most used.
is monitoring.
A large number of "eyes" appear in the film.
The victim's eyes.
Buddha's eyes.
Fish eyes.
All snooping.
The eye replaces the lens, pulling out another window between the police and the suspect, the man and the woman, from a third-party perspective.
A hunting game about "love" is shown.
Hae-joon spies on Ray-lai because she is suspected of murder.
But this kind of surveillance is not pure.
The next second, he "walked" into the room where she worked.
Switching from a subjective lens to a third perspective, and letting Hae Joon look directly at the screen, bringing the audience into his brain.
Intuitively let the audience see his fantasies about Relais.
The audience watches how Haijun "fell in love" with Ruilai step by step and walked into her gentle trap.
He imitated her life, imitated the wine she drank, the pen she used, and substituted himself into her life.
The police officers' solid professional mission has seen some wavering.
And then later, unconsciously.
In Rayleigh's eyes.
The surveillance of the telescope has become a lover's entanglement and lingering.
If you say that at this time, Haijun's feelings for Ruilai still have a hint of hunter hunting.
Well, under the eyes of the Buddha.
Love becomes righteous and bright.
Here, Rayleigh and Hae-joon complete their first date, the two affectionately rub each other's hand cream with lipstick, and the hunter and the prey stand together completely.
But, don't forget.
Here Haijun also said a sentence:
"The last prisoner I saw with those eyes, I promised to arrest and bring him to justice."
In front of the Buddha, I confessed love, but.
There is still a bottom line.
At this time, Haijun's self-confidence and conceit have reached the peak -
He believed that the case was solved, and he also succeeded in getting the heart of a woman.
The heroine is passive?
No.
The first perspective also appeared in the eyes of the heroine:
Such a scene, with the expression of the heroine.
Like a hunter who watches with interest as his prey bites?
Sir is not guessing.
At the beginning of the film, the intention of the heroine is obvious -
The stray cat she fed brought herself a pigeon that had bitten to death as a gift, but Relais said:
"That cop, go get his heart for me."
Is it a natural outpouring of love?
Or is it a means of exoneration in the name of love?
Maybe both.
Moreover, neither was something she could freely choose.
Rayleigh is a loveless woman, the tv scenes that appear twice in the film, the women in it are in a state of being hurt and in need of rescue, and Rayleigh's reaction: "Really vicious."
It was her who was abused by the family, and she was wandering in a foreign land.
Desperate after intolerable.
Then, a polite, gentle and humble Hae Joon appeared.
She glanced at his ring finger, a ring.
As the prey of "love", Haijun is a good choice.
As the savior of his own destiny, Haijun is currently the only choice.
The story has only revealed its true face at this point -
This is not a cat-and-mouse game between police and bandits, men and women, good guys and bad guys.
It is the story of how a woman, how to be pushed into the abyss by family, by reality, by fate, and even by love.
03
There are two of the most crucial lines in the film.
The first sentence divides the entire movie, and all the characters, into two camps.
"The wise man enjoys the water, the benevolent one enjoys the mountain".
If roughly distinguished:
The first half of the film is "The Mountain", which is the undulating staircase, the roof, and the closed and stable male perspective of the city.
In the second half of the film, it is the "sea", a coastal town that is always wet, a jellyfish in a dream, and a sea where secrets are buried.
And the men in the movie are mostly "benevolent".
The first husband helped the heroine stay in Korea, but climbed the mountain and died; The second husband moved to the coastal mid-mountain villa, which was actually a debt evasion.
What they maintain is a mountain of false benevolence and false righteousness.
The male protagonist is more special.
His name is "Sea", but it is sandwiched between mountains and seas.
Because after learning that the first case was caused by Rayleigh, he said something like this:
"As a criminal police officer, I was so obsessed with a woman that I have now completely collapsed."
Underneath the tight exterior.
The irrationality of love, and the reasoning of the profession, make a mess.
He strives to maintain benevolence, pursues the truth, and destroys the key evidence of murder for the heroine, but in the end he cannot resist the love for the heroine.
This also leads to the second key line:
"Throw your phone into the ocean, the deeper the better, don't let people find it."
This is the original words of the male protagonist to the female protagonist.
But the heroine thinks that he is saying "love me".
How can it be so stupid?
Wrong.
The heroine is the real "wise man".
Her phone case, which is the waves; The wallpaper of her home is the waves; She herself had said that she liked the sea.
But none of this was her choice.
She knew that Hae Joon couldn't possibly say the words "I love you."
Because she is used to not being worthy of love, she is forced to look for love, prove love, and confirm love from clues.
So when the male protagonist is worried about the murderer in the first half.
All her temptations, teasing, and disguises are just the survival wisdom accumulated in the first half of her life.
Even if she ends up failing.
And still did not give up.
Hold a "funeral" for yourself and make yourself a "unsolved case" for Hae Joon forever.
In the final shot, Park Chan-wook uses a process from elevation to top shot.
At the feet of Hai Jun, there is the gaze of the "sea", behind the inclusion of the "sea".
The people who are left behind.
It's just another entry into a cage of love.
04
Finally, Sir also wanted to talk about Tang Wei.
Since 2019's "Whistleblower", it has returned to the screen again.
A woman who loves resolutely, is gentle and cold, obsessive and vicious, and makes people unbearable and harsh.
Many fans envy this "other people's soup only".
Truly.
Park Chan-wook spent a lot of thought on her in the movie.
Most obviously, styling.
In order to show the mystery and fickleness of Tang Wei's character, the director directly dressed her as a "chameleon" in the movie.
In almost every scene, the costumes are different, and the hairstyle is changed at least three times.
In addition, all shots are restrained.
Tang Wei is picking people to pick a play——
Only when you meet a director who really understands her, and only under their lens, can you show your unique charm.
For example, the director of this film, Park Chan-wook, such as Ang Lee, who made Tang Wei emerge, and Kim Tae-yong, who finally helped Tang Wei return to the film world with "Late Autumn" and embraced the beauty.
Ruilai, Xiao Hong, Anna, Wang Jiazhi, these images have something in common:
There is no drastic opening and closing.
The energy is hidden in the bones.
But outside of the tricks.
More envy comes from the long-term flattening of domestic female roles.
What kind of character is Rayleigh?
Gentle and playful when in love, decisive and resolute after recognizing reality; Take care of the elderly living alone, careful and considerate; Murder of husbands, elaborate planning without leaks.
The fraud was exposed by Zhang Haijun, and he confessed his crime by committing a crime; In order to escape the crime, he instinctively planted the stolen police to protect himself.
Insecure, yearning for love, but obsessed with the pursuit of fruitless love.
In the end, in the face of the dream of love that could not be realized after all, she walked into the sea and returned to the place where she originally belonged.
The face is peaceful, but the chest cavity is like a flame that has never been extinguished, and the desire for love and home is unquenched.
Sensitive and fragile, tough and decisive.
Guilty, but let the audience feel sad.
Always confused and elusive.
Under Park Chan-wook, Tang only has a "hazy feeling" like a fog-
The short-haired soup is not willing to be bullied, and is a strong red;
The contest of good and evil, the temptation of the body, is the uncertain yellow;
Towards the sea, the wind and waves are calm, it is blue.
She is the murderer who carefully planned to kill her husband, and she is also a single woman who has no branches to rely on.
One body, multi-faceted, sexy cunning.
So.
What should be asked is not why we only have this one Tang Wei.
But.
Why we can only see one kind of woman, one kind of persona, one kind of story.
The picture in this article comes from the network
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