The father killed his sister directly and the mother indirectly.
He, at the scene, witnessed everything.
When he grew up, he became a bully who collected debts, and his life was equated with violence.
The working methods are simple and direct, swearing, punching and kicking, threatening and intimidating.
The lack of language skills is so poor that only "Siba" can be used to express emotions, and the means of livelihood are so simple that only "violence" is left.
This is the protagonist of "The Green-Headed Fly", Xiang Xun.
The brilliance of human nature is not in the supreme good, but in the "complexity".
Sang-hoon is a complex character.
We are amazed by his love of violence and by the affection between him and his little nephew, which is like father and son;
We were amazed at his fists and feet towards his father, and we were also pleased with his warmth and companionship for female high school students.
China's crime movies bear too many ideological functions, the mission of promoting the main theme makes domestic crime films "heavy" forward, the kidnapped crime movies are not so "pure", even if it involves the blackest and darkest things in human nature, it always goes into the road of "first perform and then explain", with noble morality and warm feelings to bridge the darkness in the movie, I don't know that the evil of human nature does not need to be explained at all, some people are very dirty.
But we must affirm that in recent years, domestic crime movies have made breakthroughs, such as "Manslaughter" is such an example, it can be said that it is the best work in the remake of film and television works, the creators no longer pursue "positive energy", the edge of good and evil is diluted, and the whole film is more like the game of the perpetrators, the contest of human nature.
Returning to South Korea's crime-themed films, unlike domestic films that focus too much on the persistence of small people at the bottom of society when they face moral difficulties, Korean films pay more attention to the direct embodiment of violent crimes and the retrospective exploration of the source of human nature distortions.
"The Green-Headed Fly" is one such movie.
Today, with the endless emergence of film and television works, the villain roles have become diverse, but Xiangxun is so bad that people sympathize.
A slap opens the film, and the subsequent plot advancement shifts the focus from "violence" to "Xiangxun": what exactly happened to this man?
For most movies, "crime" is a subject matter, and for "The Green-Headed Fly", crime is just a foundation.
The extreme writing of Sang-hoon's distorted personality is the biggest highlight of this movie.
The direct display of the violent behavior that directly hits the sensory experience seems to be "eyeballing", but in fact, it unconsciously breaks through the audience's psychological defense line, dissolves the so-called "justice" power, and guides the viewer to cross the boundary between good and evil to torture human nature.
The creators use the calm and cold lens to reveal the reasons for the formation of Xiangxun's personality, and realize the shaping of extreme personality in this way, which not only promotes the development of the storyline, but also makes the audience willing to open their hearts to accept such a "cute" character.
Korean crime films rarely look for the boundary between good and evil, and their principles are that "family ugliness must be publicized" and "children can't be set up by wolves".
As a result, the impure "evil" is skinned off, and what remains may be a pure heart, or a soul who has undergone torture and can only bluff to the world for self-preservation.
This is the reality, this is the Xiangxun.
Korean films do not pursue a happy ending, often leaving the audience with a problem of being shelved forever, and the audience continues to think in such an ending, and the emotional tension of the film is strengthened.
Through the first 3/4 of the film, the audience likes the role of Sang-hoon;
Through the last 1/4 of the film, the audience begins to look forward to the ending of Xiangxun;
In the end, when the audience is ready for the ending, Sang Hoon dies.
But this is not sad, looking back on Sang-hoon's life, the previous "likes" and "expectations" become futile.
At the end, when the story is complete and the relationship between the characters is complete and clear, the creators leave all the remaining space to the audience, and the theme of the film is sublimated and refined.
Such a design can be understood as helplessness and regret, but it can also be understood as a kind of beauty about "hate".
Through the hidden pain, we can see the light of humanity behind this fatalistic tragedy of fate.
The above text is original content, the picture comes from the Internet, thank you for reading.