Mick/Wen Douban/Picture
Pick up the previous article and continue to dismantle the Hong Kong film "PTU".
⊙ the fat man, the ponytail scene, the first stop to find the gun, and join the female head of the serious crime team.
A panning shot, and finally down to the ponytail phone, empty. The camera cuts to a close-up of the phone, and then, the fat man holds the phone in the middle shot. The light is shot straight down from above, and the camera pushes from the medium angle of depression to the fat man's face.
The phone rings, cutting to a bird's-eye view. Shake down to the fat man in a bird's-eye view. Cut back to the other end of the phone, old watch. Lao Biao gave the phone to Lao Ren. Lao Ren heard that it was a fat man, so he walked into the distance. Cut to a close-up of the skin-rubbing pony, and cut to a large close-up of the skin.
Lao Ren identifies himself, and the fat man tells Lao Ren that Ponytail has been killed, and the fat man is afraid that Mawei's subordinates will take revenge with guns (deepening the character's view of crisis, aggravating the pressure of drama, and passing the pressure on Lao Ren).
The camera cuts to a large long shot, and the three cars drive straight towards the audience, the momentum is pressing, and another pressure is coming.
Switch back to the game hall, Lao Ren put down the phone, and end the old Ren game hall paragraph.
Cut back to the fat man, a funny big long shot of the fat man, with the street lights hitting the fat man from above.
The serious crime team appeared on the stage, with a vigorous momentum, a one-color suit, and a pair of the market style of the fat anti-black group, as if the city people were doing hillbillies.
The two sides handed over, and the ponytail phone was gone.
The fat man and his subordinates played a double reed, fooling the serious crime team, and the female head of the serious crime team was imposing, seeing that she was going through the gang, and the fat man took back her mobile phone. The female head began to suspect the fat man.
The body of the ponytail was carried away, and the first stop of the fat horsetail scene to find the gun ended, and the camera faded out. With slow motion and fade-out shots, a touch of lament is given to death (ponytail's corpse).
Car smashing case
The camera fades in, the first sound enters the picture, and the car alarm goes off. Across the camera, the smashed vehicle is smashed, the lights are down from above, and the surroundings are pure black.
Xiao Shao's group entered the mirror, inspected the smashed vehicle, 45-degree panoramic view, depression angle, and pushed forward.
Xiao Shao walked towards the camera, another smashed car sounded again, Xiao Shao walked forward when he heard the sound, and the camera moved back.
Xiao Shao called the headquarters, the child riding a bicycle entered the camera, and the camera moved with the child.
The child passes by another smashed car, and the camera pans to a close-up of the smashed car glass. (Implying that the child is a car smasher)
The child brushes shoulders with the support police.
⊙ Lao Ren searched for the second stop of the gun, and joined the herald.
Set shot, long-haired horse boy into the camera. A large advertisement is in the mirror (suspected to be a patch advertisement - Tongli Music Company). Lao Ren surrounded the long hair. The long-haired alley lurks. It's the background yellow light hitting the long hair again (last time, the red light hit the face of the skin-rubbing horse).
Yellow
Red
Lao Ren's subordinates, glasses take off their shoes and go into battle, and the angle is raised.
The camera cuts to the herald's entry, and Pony Boy, who is in charge of watching the scene, talks to explain the identity of the herald and his assistants. Not "own people". The herald is called Pony Boy is the senior brother, and the herald is the lowest-ranking cadet police officer (the kind that Lao Ren directly reprimanded in the first paragraph).
And this passage also shows that the herald doesn't understand the meaning of Ponyboy's words, showing that the herald has a blank sheet of paper and no experience.
In this section of six shots, in less than a minute, the biography of a new character has been completed. Screenwriter Cow!
Cut back into the alley, glasses and bare feet kicking long hair. Long hair was knocked unconscious. Lao Ren hurriedly rescued. The glasses were scared silly (and the fat man who lost the gun became a difficult brother). Pony Boy walks to the end of the alley, sees the situation, and stares nervously at the herald for fear that the herald will find out. Pony Boy shouts out that the herald has arrived, and several people in the alley are even more nervous, and once the herald dies, the herald will immediately report it to the assistant, and his life hangs by a thread. This drama is so good!
Fortunately, the long hair breath came up. The camera immediately cut to a close-up of the faces of several creeps, and their breath had just come up, and they were frightened.
The camera cuts back to the alley, a close-up of the panorama at an elevation angle, and all four people in the alley are in the shot. It's another wonderful scene scheduling. Long hair became the one in control of the audience, and the other three were all looking up below him or on the edge. He was beaten all over the ground just now, and he swapped positions in a moment.
Suddenly, the long hair fell out of a pack of credit cards, and the old Ren who was squatting just now immediately stood up, the long hair bent down to pick it up, the old man stepped on the credit card, and the long hair looked back at the old Ren. It's just a few bells, and the position of power has changed again. Longhair's credit card is fake.
Lao Ren immediately used this to negotiate terms with Long Hair. The camera cuts to the creep, the elevation angle, and the creep is thoughtful.
Then Longhair explained the position of the ponytail horseboy.
In this paragraph, the skillful use of camera angles and scene scheduling vividly shows the dramatic interaction between the three parties. The absurd nature of power, the main ideology of human society, is embodied.
After this period is over, he immediately arranges for the herald to come on the field and confront Lao Ren-for-tat. It can be seen from the scene scheduling that in the double medium shot of Lao Ren and the herald, Lao Ren was squeezed to the side by the herald.
The three of them surrounded Lao Ren
Before the matter was over, the three creeps also started to coax (in the alley paragraph, the three creeps kept being close-up, just to pave the way for this incident). Give Lao Ren another negative event.
Heralds are isolated as non-"own people".
A slight elevation angle, indicating that the three of them are currently on the top, and Lao Ren is facing pressure.
Pony boy had a direct showdown, and let Lao Ren and the fat man say that he would do it himself. In fact, the fat man didn't ask Lao Ren to help him find a gun, and the fat man always had to handle this matter by himself.
This is the difference between the experience of Pony Boy and Lao Ren, with Pony Boy's understanding, it must be the fat man who asked Lao Ren for help. In fact, the relationship between the fat man and Lao Ren is not this kind of relationship, they want to go deeper, Lao Ren is active, secretly helping the fat man. So as soon as Pony Boy opened his mouth, Lao Ren knew that his level was still a big step behind. This is the three-dimensional sense of excellent character design. What person, what level, what position, what do things, what words.
At this time, a soothing music and large long shots are added to relieve the tension and let the audience take a breather.
⊙ the second stop of the fat man's search for a gun, he saw Lao Xiang outside the bar.
Seeing Lao Xiang outside the fat bar, Lao Xiang said a few paragraphs, which can be regarded as explaining the plot. First, it leads to the big brother behind the ponytail killing. Second, I confessed that Big Eyes called the fat man many times, and the fat man found that his phone (actually a ponytail) was out of battery. Third, let Lao Xiang give the fat man a battery, and the phone is needed below. Fourth, Big Eyes let Lao Xiang be a lobbyist, and let the fat man put Big Eyes in prison to protect him. That's basically the plot outline at the end.
Lao Xiang's airborne troops were imposed by the screenwriter for the sake of the plot, which was a bit reluctant and artificial, and it was a last resort. But it's not easy, such a complex story.
Lao Xiang Wang Tianlin is the director's mentor.
The fat man and the female head of the serious crime team are a narrative line, so the meeting between the fat man and Lao Xiang was seen by the female head who went to the bar to handle the case (the fat man's car was conspicuous).
Pick two episodes in one shot
The female leader's subordinates went to the bar to find out an undercover agent and asked him to probe the letter. (It can be seen that the female head is strong, but her ability to handle cases is not good, she doesn't even know the news of Big Eyes, and she has to find an undercover agent, which is far worse than the fat man, and the fat man is looking for the fat man here.) is against the law, and the female head is strong and middle-handed, paving the way for the future to be scared and lose the gun).
It can also be seen here how familiar the fat man who is an anti-gang police officer is with the underworld.
At this time, the fat man's mobile phone rang again, and the fat man's instinctive reaction was wrong.
⊙ Lao Ren's third stop in looking for guns, Ma Zai's nest
This section is the director's interpretation of the plot without dialogue, using pure cinematic visual techniques. Film textbooks.
The herald carried forward the tradition of foreign monks chanting scriptures, and was the first to join the old commander of the light pole who went upstairs alone.
The camera gives Lao Ren a close-up, and the herald gives Lao Ren a good impression. paved the way for the reversal of the old man in the future.
The three separatist minions slowly began to loosen up, and one by one they returned to the old ranks. There is no dialogue, but it is worth a thousand words. Some of the films in the silent film era were of a very high level.
When I entered the house, the dirty work was still done with glasses, first knocking down the knife-wielding woman, and then forcing her to wipe off her footprints.
Then he confessed to the ponytail and went down.
Then, Lao Ren's handling of the kidnapping case shocked the herald.
⊙ phone was picked up incorrectly
Lao Ren couldn't get through the phone to Feisha, so he called again, and ended up calling the serious crime team. The woman sensed something was wrong and began to check the phone.
The fat man also found out that the phone was taken incorrectly. The spirit fell into another blow.
That's when the bald call came.
⊙ the third stop of the fat man's search for a gun, bald
In this paragraph, the fat man becomes a sheep in front of a person of the level of baldness.
The scene scheduling of this section highlights the weakness and trapping of the fat man.
Surrounded by fat people, and netted shadows hitting bald faces.
The station in front of the warehouse. In the elevator, a close-up of the iron railing, standing in the elevator.
There is no soundtrack, highlighting the heavy real-life sound of the scene.
It was still a bright light from below, and there was a feeling of light hitting the prisoner in the interrogation room.
The use of strong light from the top to the bottom separates the person from the surrounding darkness, and there is a feeling of imprisoning the figure in the light, and the image of "being trapped" is highlighted in this technique.
Here's an iconic shot, similar to the title of the article, of four ponies caged and exposed to a bright light from above. This is the director's combination of two visual cues of the front and upper direct light and iron net. This is the climax of a dark structure throughout the film.
This use of sound is also a textbook.
The fat man complied and promised to help the bald man come out with big eyes.
The soothing music sounded, the above paragraph was too exciting, so the director let the rain come down again, so that the audience could divert their attention, and Zhang Chi had a degree. Before, I wiped my sweat vigorously, and it turned out to be raining.
Chinese Ice House Drama
Here is the ice room drama after that, first give the three parties involved a shot in the rain.
The fat man was taken advantage of by the bald head, and he needed Lao Ren's help to trick the big eyes out, so he made an appointment to meet at the Chinese Ice Room.
It's a bit of a Lanruo Temple
The blue and cold tones, the weird angles, reveal the ghostly atmosphere
The use of small spaces to create a depressing atmosphere, and the composition of the diagonal lines on the head makes people feel depressed.
Lao Ren arrived first, counting the home field, and the first to enter was the fat man. The fat man and Lao Ren had to avoid the heralds and change tables to talk. The herald looked confused.
The fat man just wanted to say that the second one to enter came, Xiao Shao.
The fat man said the time and place, which was the time and place of the final climax scene. I also hope that Lao Ren will help not to go to this place, so that the bald man can kill Big Eye for revenge.
Xiao Shao couldn't help it, came over, and joined the two-person meeting. It's still the gun that Xiao Shao is most concerned about. In front of outsiders, the fat man pretended to be confident. Then he got up and prepared to leave, and patted Lao Ren on the shoulder, meaning that he was about to leave, brother!
The third entered, the female head of the serious crime team. The female head knew that the fat man was in the ice room, and there was no explanation in the plot, in order to make up for this hole, she let the fat man's car splash a car of paint at the beginning, and the female head said that she recognized the fat man's car and found it. This is where the screenwriter is not clever enough, and if the coincidence is used too much, the drama will be leaked.
The female head was stunned as soon as she came up, and she confessed her bottom all at once, and this female head couldn't catch up with the fat man. As soon as the fat man saw that something was wrong, he slipped through the back door.
Xiao Shao didn't think about it, and immediately gave way. After the female head of the serious crime team appeared, the fat man was considered his own person.
The last paragraph is very interesting, even the herald consciously realized that the serious crime team was not "his own person".
This herald is not as stupid as he seems, and he is stupid when he works under the assistant. Another in-depth character design. and secretly felt that the assistant who did not appear had control over the overall situation.
The Chinese are like this, you can understand some unspoken rules, you will never say it, and no one will admit it, but it must be useful. You know which level of the unspoken rules, you can mix like a fish in water at that level, and if you don't know, it will be difficult to move an inch, such as the female head of this serious crime team. If she wants to understand "her own people", she won't ask them one by one and bring shame on herself. This is the more ideological part of this film, which touches on the national character of the Chinese.
Canton Road
This section is a jump cut, and there is no transition at all.
All the previous buried threads began to lean together, and the tributaries began to converge together.
The first is an unknown person who appears on Canton Road (suspense).
Feisha was the first in Canton Road. Have an interaction with the person I don't know above, and pave the way for the following.
The female head has to go undercover and follow Big Eyes to Canton Road. (The line of the female head has always been relatively weak)
Needless to say, I went to Canton Road by myself. (It's a bit abrupt without men).
Xiao Shao found that the child riding a bicycle smashed the bicycle and ambushed Canton Road.
The herald reversed and began to change his old position, turning to Canton Road to prevent the fat man from giving in. Note that the first time the old team saw the fat man, they ran there. At the end, saving the fat man also ran away. Symmetrical from head to end.
The last shootout uses slow-motion technology to stretch the time, which is a unique artistic technique of the movie, and the unique violent beauty is intoxicating.
There is a special article analysis at the end, so I won't say much about it here.
"Demolition of the movie|"PTU" (Note: If you haven't read it, don't open the article to read it, you can't understand it)