These two films have been compared by many netizens, and they basically say that "The Girl on the Train" is far worse than "The Lost Lover". This sensory impression is scribbled and not very responsible. Of course, it can be irresponsible to talk casually at the entertainment and pastime level, but if you want Chinese movies to be up to the standard, you must dissect the classics and make them more authentic.
First of all, I am a fan of David Fincher. I have been a fan of David Fincher for more than ten years. It can even be said that it is because of him that I am in love with movies. Almost all of his works are repeatedly appreciated. In general, "The Lost Lover" is David Fincher's consistent style of doing things. The structure is well-arranged and rigorous. It is obvious that the "structure map" is a story that is deduced over and over again. The performance and setting are obviously strictly controlled. In other words, the performance and the scene, whether they are good or bad, are direct expressions of the director's fault and right, and there should not be too much loss in the middle.
In addition to its brilliance, "Disappearing Lover" has been repeatedly watched and found some false and unreasonable settings.
Let me talk about the character analysis and motivation of "The Lost Lover". David Fincher observes sharply, refining the details of life very powerfully, and some plots come from life, with black humor. He has always cared about the design of the opening and closing shots. Nick vo: Really want to know what is thinking in her head? Amy clinging to her lap suddenly raised her head and stared at it, like a telepathic spirit, and the audience could not help being surprised-what a shrewd woman, she even has a gift for mind-reading. This design is very flavorful.
There is a problem with "The Lost Lover" Nick was very careless at the beginning of the story. The character's intention seems not clear enough. Perhaps the director deliberately expressed his carelessness before being played around by his wife. In the latter part of the film, the shrewd Amy's psychological motivation still has the same problem, or it is more prominent. She spent a lot of time, but in the end she did almost nothing.
The inner motivation of the hero Nick. A man, lost his wife, smiled and posed for a group photo in front of the media, and many times, this is not in line with common sense. Why would he do this? This is the suspense buried by the author. Do you care about your wife? Is your wife killed by you? The suspense can be buried in this way, and the explanation can only be explained by the police's evaluation of "he is stupid."
The inner motivation of the heroine Amy. Usually people take shortcuts when they do things and act with the least effort first. But the heroine has worked hard and used forces that will "affect her own life", and even kill (equivalent to using nuclear weapons in a world war), then she must have sufficient reasons to feel worth it, but only from the heroine's reaction Look-no, enough, enough.
In "Disappearing Lovers", the motivation for the lover's decision to "disappear" is very crucial, and it stands to reason that the pen and ink should be emphasized. The director or screenwriter did make an array of troops, but the key scene was understated for some reason.
This key psychological preparation is a flashback: the husband and wife are both unemployed, and Nick is depressed. In order to fill the emptiness and boredom, he bought a bunch of games and computers without his wife’s consent. This was originally an important foreshadowing, the reason for her husband's laziness to make Amy extremely disappointed. After that, there was no scene of disappointment to the extreme and outbreak, not to mention the wife is an extreme psychopath, and Amy just simply argued. This is a bit inconsistent with the subsequent fighting and even killing.
In the role performance, the activeness and performance tension of the heroes and heroines of "The Lost Lovers" are slightly insufficient, especially compared with Rachel's performance in "The Girl on the Train". The two are well-matched, beautiful, good-tempered, and close to the characters in appearance, but this is the requirement of idol dramas, and the inner emotional tension can be strengthened. Both the protagonists of "Disappearing Lover" are lacking in the exquisiteness of the performance, the expression is single, and the explosions and expressions that should be done are not done. I feel that the heroine is coldly violent in her life, such as not saying a word, panting like a cow and destroying the details of things.
On the contrary, the perverted ex-boyfriend, Desi's performance is very accurate.
Two wonderful details of about 92 and 93 performances:
Desi took Amy to his villa and repeatedly said that it was safe. After that, he stepped back and left. This way: it was a reluctance and an act of respect for the master by the servant.
The other is that when Desi visited Amy for the second time and left the villa, he said, "I look forward to getting back together with Amy." While touching the door frame, the door frame was already hot like a woman's waist and ass. This slightly insignificant action is entirely the expression of the character's heart, and it is accurate. He still admires Amy, and still shows no intention of it. It was precisely because Amy saw all of this that he exercised accurate control over the rich man.
Many scenes of "The Girl on the Train" in the drama scenes are complete short story paragraphs, with beginnings and turns, back and forth echoes, and rhythm changes, but it is a pity that they have been edited and edited by dazzling skills. Many of the messages in "Disappearing Lovers" are arranged evenly, and they are simple and neat.
There is even a clue in "Disappearing Lovers" that has not been extended for some reason? The bug that appeared was that Amy bought a gun. But we didn't even see the shadow of the gun behind. There are also several places where information is given directly for the sake of "explanation." Obviously, the lines are for the audience to listen to. The following scenes are very typical.
Example 1 Policewoman: Come on, tell me what you have gained
The young policeman bowed his head and began to read the site survey and DNA report to the policewoman.
So, the young policeman read a large piece of information about the case, which was obviously read to the audience.
Example 2 In the 47th scene, two policemen choose evidence and once again come to Nick’s father’s old house
The young policeman is puzzled: it's time to settle the case, just catch him. Why are you still tossing about it?
Policewoman: Do you want to know how difficult it is to close a case without a dead body?
The policewoman looked around.
Young policeman: What are you looking for?
The policewoman found the entrance to the basement: the dead body, come and have a look, maybe there is something to be gained.
It is common sense that we all know that the case cannot be closed without a corpse. As a policeman, it is impossible for a policeman as a law enforcement officer to know it. Obviously, this is deliberately shown to the audience.
Example 3 About the 66th airport
When Nick waits for the flight, the two hosts on TV make irresponsible remarks to Nick and his sister, suggesting that the relationship between brother and sister is special and shielding each other.
The passengers waiting for the flight simply say, siblings who are perverted and incestuous.
Nick looked at the passenger in surprise. He took out his baseball cap from his bag and put it on, bowed his head and left.
Very deliberate and straightforward. Fortunately, the quality of group performances in the United States is high, and the performance is not too deliberate. If it is a domestic TV series, the group performance will be more contrived, and even grinning, pointing and repeating lines in the mouth.
Example 4 Probably the 69th scene
Amy called 911 to report in her room: I seem to hear something in Nick’s cabin.
This report call is too easy! He was still in his own residence! Is the police call so casual? The police tracked down calls deemed important and confirmed them step by step.
There are too many lines in "The Lost Lover". For example, the opening episode of Nick and Amy's first love relationship, or the opening of Nick and his sister ridiculed, is generally good and has no new ideas. It is common in romantic TV dramas and completely lacks Vinci's originality and innovation.
The video and editing effects are for narrative service and cannot affect the audience's acceptance of narrative. At this point, the idea of the director of "The Girl on the Train" may be too advanced. He disrupted the cross-temporal narrative, followed the emotional trend of the multi-line narrative, so that slow-paced audiences, especially absent-minded audiences who were doing housework while watching the movie, couldn’t stand it at all, so much so that they didn’t understand much of the plot until the end of the film. I have to say that editing the narrative "Girl on the Train" in this way does not pay off. However, what cannot be erased is that the edited narrative of "The Girl on the Train" is one of the most complex and sophisticated models that can be seen in modern movies.
In short, the level of David Fincher's works has always been stable. However, everything will be up and down in comparison. Here, in terms of the work alone, "The Missing Lover" is not fully used in the film and television voices of "The Girl on the Train", and some scenes are processed perfunctory and general. The performance is even less exciting than the latter. Especially Emily Blunt, what does this sister act like, "The Devil Wearing Prada", "Border Killer"... plus "The Girl on the Train", it is easier for you to draw conclusions by yourself.
"The Girl on the Train" is a severely underrated film.
It is also a film delayed by complicated editing. Its performance and film and television effects are not under the "Disappearing Lovers". Unfortunately, because the narrative is complicated and there is no coherent atmosphere, it has established a "cold" barrier in front of the audience. pity!
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