The elderly Mr. Toki (Clint Eastwood) remained prolific, bringing Mule and Richard Jewell's Lamentations.
The former has a distinct and strong personal style, and the sword is not old, while the latter is like a basin of cold water and a sedative poured into the noisy context.
"Richard Jewell's Lament" pokes at many sensitive issues, female journalists who eat human blood and steamed buns make hot spots, inaction and even chaotic case solvers painstakingly weave false accusations, and passers-by stereotypes of non-successful people and even invisible discrimination, which together make the unbelievable absurd story come true and form a huge tragic vortex.
Right and wrong, right and wrong, good and evil are all wrapped up in it, and innocence is difficult to discern and the truth is difficult to say.
It is ironic and sharp, but the way the film is presented is not preachy, or even abandons sharp and extreme expressions, and completes the silent accusation and reflection in a certain silent appearance.
In Making Louis XIV, Peter Burke traces how the "image makers" of the seventeenth century "marketed" the public image of Louis XIV in the form of ideology and so on.
The real King Louis himself and his "Sun King" image label in the public eye may not be equal.
The keyword "manufacturing" has become more central in the process of mass cultural dissemination.
In the film "The Lamentations of Richard Jewell", his ups and downs of identity change, the change of public opinion image, are all driven by the ambition behind the word "manufacturing".
Who is creating the two blur images of "Jewell the Protector" and the negative "Jewell the Offender"?
Case solvers and female journalists are two important motivators, and they also have countless active passive, informed and uninformed conspirators.
In the film, Jewell's identity undergoes two very interesting transformations.
In fact, he has not changed, but public opinion has changed his needs.
When the park exploded during the Olympics in Atlanta, public opinion needed a positive protector, so the "first person to find the bomb" was pushed to the podium.
In this incident, the inevitability is his consistent axis of seriousness, and the coincidence is a series of random events, under the action of multiple factors, Jewell, who was originally disliked and ridiculed and driven away, finally exerted his advantages to the maximum, and being praised is the praise he deserves.
When the bomb was about to explode and every second was about to die, colleagues had to desperately find an opportunity to say, "I will never laugh at you again," and people who came and went on the road afterwards thanked him.
The kindness and gratitude of passers-by are true, but the "focused" flowers and applause are buried with unreal hidden worries.
Soon, heartfelt praise becomes the business practice of capital.
He was "typicalized" as an extreme image of the positive and negative, first quickly packaged as a business, and then as a sacrificial scapegoat.
In the early stage, they want to create the protector of the city, and in the later stage, they want to create the murderer, and the same person is created into two extreme images and two extreme labels that contradict each other.
The incompetent case solver in the film, based on unfounded speculation, labeled him as the number one suspect.
Female journalists have obtained this news by means of physical trade, disregarding media ethics and hyping up and concocting hot spots.
The city is full of wind and rain, and an innocent hero has instantly become a street rat.
It's particularly ironic, it's creepy.
The moment the female reporter returned to the office, all the staff stood up and gave a warm applause, and she was mesmerized and satisfied.
Without a word of accusation, the more she danced, the clearer the silent punch in the face.
The film was followed by a cry of hers.
But was this confession sincere?
A few details are worth noting.
At the press conference, the female reporters in the crowd burst into tears, she raised her hand to wipe her tears, and her bright red nails grabbed the camera too much.
Red nail polish is the soul.
From a narrative point of view, this is the home of the male protagonist's mother, but in the shot of the female reporter in the film, the content of "she cries and repents" is also the highlight of her role line.
Tears were her wordless letter of clarification and repentance.
It is well known that the occasion of crying and weeping and begging for forgiveness is not suitable for heavy makeup.
That thick raised hand instantly dissolved her sincerity.
You might say that the character's makeup style has always been like this, and the thick nail color does not mean anything; please note that if you do not want to produce the effect of "heavy makeup destroying the picture of crying and atonement", this short shot can completely prevent the actress from raising her hand to wipe her tears.
Just let the tears fall, and the effect is more sincere.
So, in a way, rather than being bitter and blaming herself for a truth revealed, she is once again a situational animal, infected by a tragic situation.
In the past, she was a participant in the active concoction of narrative situations and the trafficking of emotions, and now she is a passive recipient of situations and being coerced into infection.
The audience from God's perspective clearly knows right and wrong, good and evil, but the people in the bureau are all poor creatures wrapped up in the situation.
In such a surging incomplete fragmentation of the "highlight" spread, the female journalist who was self-satisfied in the previous second and danced at the peak of her life, the confession found in her conscience may not be able to clear her of guilt, and the identity of the perpetrator may not necessarily protect her from becoming the next victim.
The movie does not use any line to scold the cracker as a rice bucket, but the effect of the story is like pointing at the nose and scolding the whole time: the wine bag rice bag that is not enough to make things worse is stupid and bad.
Looking through the images of objects from home, one side is painful, the other side is mocking.
The more complex, serious, and meticulous this so-called professional process is, the more off-topic the essential responsibilities become.
It took a lot of effort to toss and turns, even the common sense that basic non-professionals could judge that "he didn't have enough time to go there and make a call."
Procedural professionalism corresponds to the absurdity of not even common sense.
Under this normal daily serious "professional" process, what an absurd and angry unprofessional and terrible abyss.
The male protagonist is not married, lives with his mother, and the life of the mother and son is very warm and happy, but in the stereotype of pride and prejudice, this has become "criminal evidence": the loser lives with the mother.
Individual feelings are specific, special, and difficult to uniformly stipulate, but group-oriented narration always likes to simplify, type, and modularize them: the fat man who once was expelled from living with his mother, even if he has the heroic hammer of finding the bomb, is still called dirty water by the top suspect thief.
In the face of the long-winded predicament, the performance of the male protagonist's mother that touched me the most was that she followed the person who moved the evidence storage box and cried like a child.
The cornerstones of the three views were all shattered, and all understanding of the world was subverted.
The investigator only wants to solve the case, can't find the criminal, can't find the progress, and can't complete the KPI, so he has to take the person in front of him, make guilt inferences, and even try to trick his friend into confessing.
Reporters only want to pay attention to the public, do not ask right or wrong, do not ask about journalistic ethics, do not ask about the conscience of the media, every newspaper is stained with the blood of innocents, dancing so cheerfully.
The film does not use abstract accusations throughout (except for the sporadic discourse of lawyers in conflict), but it expresses the ugly face in a particularly concrete way, carved alive on the column of shame of human nature.
A pleasant conclusion
"The Lamentations of Richard Jewell" is the kind of film that is frightening and heartbreaking, and a conscientious person finally realizes his value and protects the lives of many innocent people.
The person who crowned him quickly turned to the path of grabbing the "dividend of the successful".
The man who should have protected him and was grateful to him instantly aimed the invisible muzzle of the black hole hole at him.
Man is a complex creation, and things are inextricably linked, and the mode of transmission that grabs fragments, takes meanings out of context, amplifies and even distorts a certain characteristic, is like a nuclear weapon that destroys and does not know it.