The docking of the two-line narrative is better than that of Desprichin yesterday, and the persuasiveness and the sense of time are still the highlights, but the story is difficult to enter. It is boosted by the tribute music when Moore appeared, this time I really want to say Beauty is beautiful. Hynes's delicacy softened the dislike of bear kids. For me, I really don't understand the characterization of the original film. Half of the movie language is the black and white silent film of the 1920s, and the half is the nostalgic color film of the 1970s. The male and female protagonists are two deaf-mute children. Their world is silent, testing Todd Hines's imagination.
The best thing is the technical level. They are all very traditional color, black and white, and silent films, but in the hands of Hines, the magical activation of the original story is realized. Then there is a simple relationship, but strong and clear. The last conversation between Moore and the little boy was amazing. Compared to Hines' previous works, "Surprise in Silence" is somewhat simple. Although simplicity is also a characteristic of the original work, it is always hoped that Hines can inject something into his imaging requirements.
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