(This article is from the first station of film and television life Time Network)
More <b>than three</b> weeks ago, "Detroit" was released in the United States on August 4, and the film's director Catherine Bigelow won the 2010 Oscar for "Best Director" for "Bomb Disposal Force" (beating ex-husband James Cameron). It may not be so obvious to the average moviegoer, but because Catherine has been immersed in genre films for many years, she has always been interested in the relationship between crime and social justice— she has always hoped that the legal system can treat everyone fairly and justly, and can also resolve conflicts peacefully.
<b>Law, order, and especially the shared responsibilities and boundaries of law enforcement agencies in the performance of their official duties, have always been Catherine's greatest concern. </b>When moral boundaries are crossed, when prejudice dominates the choices made, the police not only represent lawlessness, but also become a threat to the world and to oneself.
"Breaking Point" is the best in the hearts of many fans
She has maintained this focus throughout her film career, and in the 1990 thriller "Thunderbolt Blue Angels," Catherine explored the concept of a "vigilante" and told the story of a female police officer (Jamie Lee Curtis) who was planted by a mentally ill person (Ron Severe). In Catherine's 1991 breakthrough film, Breaking Point, Keanu Reeves' FBI agent is drawn to the charismatic leader of surfers (Patrick Swaiz), a theme that is also very significant.
Even in the much older past, in Catherine's groundbreaking, rugged and influential television series, Spring of Reason, several episodes she directed were filled with this theme. Including her debut feature film, 1982's "Heartless," which also tells the story of a group of motorcyclists who get into trouble in a small town in the southern United States.
Catherine, 65, in addition to the little gold man for "Bomb Disposal Force", was also nominated for "Best Picture" in 2013 for "Hunting Bin Laden" (as a producer). In her latest work, Detroit, she skillfully applies decades of directing experience and exploration of the art of cinema to her films. This film tells the story of a group of young people facing the muzzle of gunfire, some of whom are beaten and killed by the police, and this extremely painful era film is also very disturbing to the connection with reality.
Alger Motel
Mark Ball, the screenwriter of the Detroit film, and Catherine have collaborated on both Bomb Disposal Unit and The Hunt for Bin Laden. The film is set in 1967, when our country was in a special period, and the United States was also in a rather turbulent civil rights situation, where racial inequality, police attacks and abuse of minorities were the root causes of chaos. Named after the city of cars in the Midwest, the film revolves around the lesser-known "algiers motel incident."
In late July 1967, police raided an unlicensed club where they were celebrating the return of black Vietnam Veterans. When the masses felt they had been "discriminated against" (racially discriminated) by the police, they formed a small group of thugs. In the days that followed, some of the angriest members began looting and firing. Among those in the crowd who want to protect private property are Melvin Dismukes, a black bodyguard hired by a local convenience store owner played by <b>John Boyega</b> who appears to be moving in the direction of Denzel Washington and a calm moral observer in the story.
The "hostages" at gunpoint
One night, the turmoil ruins a very important audition between Larry Reed (newcomer Agris Smith) and his singing group "Dramatics" and record company executives, and Larry and his friend Fred Temple (Jacob Ratimers) decide to hide in a local motel, Algiers. Perhaps it's all fate, and they meet Carl Cooper (Jason Mitchell) during a flirtation with two white girls (Hannah Murray and Caitlin Dever), who jokingly shoots a shot out the window, even though there are no bullets in the gun.
This brought police led by Philip Krauss (Will Poulter) to the area, who had no idea where the gunshots came from, but raided the Algiers Motel. Tragedy unfolds as the aforementioned small group of blacks and fellow black second-class soldier Greene (Anthony McKay) are taken hostage at gunpoint. Melvin followed, watching from a distance, struggling to find a peaceful solution. Philip insisted on finding the gun, trying to squeeze the confession out of the people he had impaled, and became a terrible little boss in the so-called "game" pretending to execute them, eventually making the incident completely out of control.
Rioting crowds confront the police
The setting of "Detroit" makes the characters seem very vivid - especially Melvin, Larry and Philip. The film's focus is on the Algiers Motel, and for an hour or so, Catherine is very effective in making the audience and the helpless hostages together, and they are heart-wrenching. <b>This is probably the best work Catherine has ever directed— watching a movie as if she were watching a horror movie, cruel, heartless, and unsettling. </b>
Any normal viewer would want to see the masses who had been abused by the so-called police rescued and the scene alleviated, but the particular horror of "Detroit" is that other authorities, whether they are state patrol officers or members of the Federal National Guard. They either left the scene or stood idly by. It is also an uneasy reminder to the audience that <b>if good people sit idly by in the face of evil and do not morally help, evil will triumph over justice. </b>
About 20 minutes after the motel standoff, the film is finally settled, the parties are to be tried, and Melvin and some racist police officers, including Philip, become defendants. This paragraph actually shows that <b>Catherine's handling of the "warm" theme is somewhat awkward, at least not completely handling the ending. This ending does not bring real justice, which will make people's hearts more broken. </b>
The soul of the story will be found in the music of "dramatics"
Detroit, though, was still a compelling film for the most part, with cinematographer Barry Ecloud's signature handheld camera, full of changing focus and shaking shots, conveying a nervous energy. <b>Matching the top shooting technique is its story full of tension and emotion. </b>The actors are very good, especially <b>Pault, who is likely to shine in the awards season</b>. Passionate directors skillfully weave real-life video footage into it to further deepen the way its narrative is narrated.
The story of "Detroit" complements the message conveyed by the "black lives matter" social movement in the United States, the current racial relations in the United States are quite tense, and the film may still have a fair and equal enlightenment for overseas audiences.
<b>Excerpts from some of the reviews of other foreign media:</b>
"Detroit is passionate and up-to-date, <b>and in the music of "dramatics, you find the soul of the story, and in the midst of the pain, Bigelow creates humanity." </b>— The Guardian
"'Detroit' hurts because it's needed." - The Detroit News
Catherine Bigelow wasn't as original or unusually reflective of the drama required for the extraordinary event of Detroit. - The New Yorker
"The never-ending atrocities are numbed by the lack of dramatic or emotional regulation." - Vanity Fair
Anthony McKay
John Boyega
(More professional film and television media, more comprehensive ticket peripheral services, all in the time network)