French films have taught me one thing from the first Cannes film "Railway Team" - not a single shot is free. Including the flock of birds in the sky, the human face scurrying across, the skimming of the street corner, the spider on the wall, and this does not include the semiotics in the montage. So, when the protagonist appeared for the first time, there was a question stuck in his throat, which continued throughout the movie: why did he choose this male protagonist.
According to the background of the protagonist: a man who goes to prison for love. Such a man can choose young poets, playboys, athletes, and there are many images, but the director deliberately chose a melancholy and handsome actor, and did not add any professional background to him. He is an "aristocrat" who lost his father at an early age and was brought up by his grandparents. His temperament made the warden instantly recognize his educational background and his extraordinary origin, but the latter never asked about his occupation. Clearly, the warden knew he was the kind of person who didn't need a job. So why deliberately ignore his professional background? Obviously the director wants you to focus on this person, this man.
Geo is a man known as a "playboy". Vosselin calls him "a man who hides when he wants to sleep." He keeps asking the protagonist about his "little lover". Feeling at a loss, he talked freely about his case, but when it came to the issue of women, he immediately hesitated.
Vosselin asked him, "Your grandma is rich, then she died, you are rich?" The protagonist said, "It used to be, but my wife and I didn't marry for money." He didn't marry for money, then he was For what?
The protagonist is quickly infected by the will of the 4 roommates' appraisal, he whispered to Manu, "You may find it strange, this is the first time in my life that I feel that I did the right thing. It's good to be with you. , I feel that I have changed." This sentence can be said to be his confession of homosexuality. After he said all this, Manu looked back at him and turned his head. The director gave Manu a close-up, and then gave the protagonist a close-up. The protagonist lowered his eyelids. This is his confession. The director used
Manu was quick to respond to his feelings. After the escape master Roland returned, he suggested to Roland that "I'll go down with him tomorrow night". After that, he took out the candy from the cupboard and handed it to the protagonist, and the director gave the double shot. If it is said that everything in front is to serve the protagonist's inner ghost identity, then this action of delivering sugar has ulterior motives. The director deliberately gave a double shot at this time, and in the long shot, the two were lying down - Manu giving sugar.
When the plumbers stole their stuff later, others stole a few cigarettes. And when he heard that the protagonist lost 4 stacks of stamps, Manu unexpectedly knocked on the iron door and wanted to educate the two plumbers. The plumber was exceptionally strong, but was beaten to death by four prisoners.
When Vosselin went to the hospital to steal a pill bottle, he heard a young man complaining to the doctor about life. Life is a bitch and she treats me badly. Vosselin said, "I'll give you a piece of advice, don't touch women." The young man raised his eyes and looked at Vosselin. "Everyone has their own advantages, right, doctor." Vosselin replied immediately, "Don't touch men either." The young man said , "Then you can only solve it yourself." It can be said that right here, the director gave his metaphor, homosexuality.
After the protagonist met his sister who was in love, the director gave two close-ups, all covered with barbed wire. This represents an insurmountable barrier between the two. The protagonist asked his sister, "You don't know how much I want it, do you want it?" The sister said, "You are so strange!" The protagonist said, "Don't make trouble with me, it's annoying me." Then he turned and left without hesitation. . He clearly didn't get the answers he wanted, and at the same time he struggled to get back into a new embrace. A new collective to accommodate him.
The protagonist and Manu dig the final tunnel together. Together they saw the outside world. The protagonist said, "Let's get on the taxi." Manu did not respond to him, the bell rang, and he returned, "Let's go down and call them." Obviously, facing the outside world, Manu's heart and him did not have the same 's expectations. The director also gave a close-up of the two people here, and the faces of the two people filled the entire screen. This is very obvious lens language.
Manu strangled the protagonist's neck desperately, and his hatred was complicated. It can be said that this is a metaphor for the protagonist who once thought he could become a man. This friendship with a common goal touched him, but his emotions were not responded. He suddenly realized that all this was his own dream, the same as the previous world. He continues to play the role of the whistleblower, to be the spy in the next cell, and he can't find who he is or what he wants. So escape master Rowland said, "Poor Gaspard."
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