As the second part of the Western "Trilogy", "Bad Guys at Dusk" presents a legendary stage story with rough lines and freehand style under simple conditions compared to the previous work. It is more ups and downs, the characters are more three-dimensional, and the violent aesthetics is more pure and prominent. Behind this, a classic static composition, agile dynamic switching, all show the leap-forward progress of shooting techniques; breaking the "binary" structure of moral tradition, highlighting the aesthetics of violence, but building a more real and modern It reflects the maturity and transformation of the western "martial arts" world.
The "Renaissance" of Picture Color
The picture is the most direct narrative. When it comes to "Red Dead Redemption", the picture of "Guteng, Old Tree and Crow" immediately emerges. The color tone of the previous work is mainly gray and dark, and the blue sky and white clouds, desert and agave are used to light up the whole picture; with the bright and bright colors, you can see the extremely exquisite academic composition everywhere, which is the film as photography. full expression of art. If you haven't checked the shooting times of "Red Dead Redemption" and "Red Dead Redemption", the two films will feel like works from different eras, and the most intuitive thing that creates this impression is the change in the color tone of the picture.
Legendary mode reaches maturity
The character structure of the classic triangular relationship between bounty hunters, policemen, and gangsters has been constructed. The character relationship under this kind of character setting is much closer than that between the two major gangsters in the first protagonist game, and the characters built on it. The story is well conceived and the plot is compact, and the film as a whole is naturally more mature and complete. In addition, the number of protagonists has increased. The first one is a single-core mode of a lone hero, the second is a two-core mode with two heroes as the protagonists, and the third one opens the "Big Three" mode, which is a feature of this series. design.
The return of pure violence aesthetics
The lens metaphor of the Christ statue in the movie, the scene setting of the "Thirteen Apostles", the long shot and triangular composition of the final duel, the zero-distance close-up of shooting to show the magic skills, etc., are all impressive. These are both rigorous and flexible use of shots. and meticulous scene design, show and probably widen the horizontal and vertical expressions of film language skills. Compared with the previous work, it lacks some close-up shots of evil human nature. This is because the director abandoned the surface description and discussion of human nature, and let the violent scenes remove the traditional moral burden, go into battle lightly, and return to the purer aesthetics of violence itself, which is also the reason. What is most notable about the film is that it furthers the trilogy's unique western "martial arts" worldview, making its basic tendencies and stylistic features more explicit in its emphasis on violent aesthetics.
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