__________________________________________________________________
A tough screen guy made in the U.S., Li Bucai is only as old as Sylvester Stallone , Arnold Schwarzenegger (Arnold Schwarzenegger), Bruce Willis (Bruce Willis), the earlier Steve McQuee (Steve McQuee), Charlie Bronson (Charles Bronson), only in "The Third Concentration Camp" (The I saw them in Great Escape, 1963). Among them, Stallone is a relatively special action actor: in addition to a muscle, he has considerable achievements in screenwriting and director. Especially Rocky (1976) and First Blood (1982), the two films focus on the marginalized in society (veterans, gangsters), and humanistic care is packaged in action films (press: Li One of the American dreams of talent is jogging to the Philadelphia City Council and yelling).
But these movie stars are far apart from Clint Eastwood. From the classic trilogy of The Fistful of Dollars in collaboration with the famous Italian actor Sergio Leone ("A Fistful of Dollars, 1964", "For A Few Dollars More, 1965", "The Good, the Bad and the Gold" [ The Good The Bad and The Ugly, 1966]), to self-directed and self-acted "Unforgiven, 1992" and "Classic Classic Cars" (Gran Torino, 2008), from mature to old age, hot to introverted, with guns Without a gun, the interpretation of the three realms of life. "Classic Classic Car" can be said to be the Nine Swords of Dugu in an action movie, ending with forgiveness and introspection. Li Bucai thought he had a good relationship with Grandpa Klin, but when he was looking for information on film noir, he realized that he had missed the excellent work of "Emergency Hunting Order" (Dirty Haary, 1971).
"Emergency Pursuit" was released in the first episode of 1971, and "The Dead Poo" (The Dead Poo, 1988) was the final work. Due to its age, it is difficult to notice this series except for diehard movie fans. But thanks to Kim Carrey, we have all seen Dirty Harry's style indirectly: in "The Mask" (1994) and "Bruce Almighty" (Bruce Almighty, 2006), Kim Carrey has imitated Dirty Harry's classic bridges. .
In "Emergency Hunting Order," Grandpa Klin does not have a dirty cloak or a cowboy hat, but a police officer with a straight suit. The only thing in common is Lord Klin's low, hoarse voice, deep wrinkles on his cheeks, and squinting eyes. Lord Klin played the role, and he was called Dirty Harry because he was cold-blooded and hated everyone; he specialized in picking up the feces that no one did. In the end, as long as it was a black pot, Harry must have a part. If this character is filmed with today's method, the visual effect will probably explode as much as possible, and things that can be destroyed with C4 will never be water mandarin ducks. Characters are like action movies that John sells poor or comedy-packaged such as "Bad Boys" (Bad Boys, 1995).
Here is a brief description of "film noir": film noir refers to crime films, popular in the United States from the 1930s to the 1950s. Its themes are a combination of detective novels (detective novelist Raymond Chandler [Raymond Chandler, 1888-1959], crime novelist James M. Cain [1892-1977] is also an important screenwriter of film noir), social news, plot The deduction is often not a binary confrontation between justice and evil, but in the event, the emptiness and self-destruction of human nature are gradually revealed (and thus pushed to social depression). Therefore, in the lens grouping, film noir seldom uses dynamic and fast editing (fast editing and dynamic photography are the photography style of police and criminal films rather than film noir), but spend more space on describing the psychological changes of the people in the play. "Emergency Hunting Order" inherited the legacy of film noir in terms of the atmosphere and subject matter of the film.
Li Bucai's focus on this film is the "watching" position in the film. Modern viewing experience is based on the effects brought by technological products: small glasses, large satellites, are influencing the establishment of people's cognition of the world. In addition to the intuitiveness of the naked eye, the visual activities of human beings assist in expanding people's cognition of the world. Take the camera as an example. In our daily perception, we choose what we see and choose important information points as the viewing object (for example, when we see a low-cut girl, the vision will choose to look at the low-cut girl and ignore the girl). Choosing an object to watch includes the definition of things. For example, in the language of the Eskimos, "snow" has different titles according to different states. But for us without the relevant environment, snow is snow, and there is no other change. It is like a field where there is only "a piece of grass" in our eyes, but in the eyes of botanists, countless worlds coexist here.
Photography freezes the flow of time, allowing us to go beyond the limitation of time flow and thoroughly examine all the details in a specific time and space; through the image "zoom in", "zoom out", "juxtaposition", "framing" (especially sports scenes), beyond human Visual limitations. For this reason, modern people go beyond the limits of personal experience in "event tracing" and "image memory", and entrust the "memories" to the "image" hosting. Today's computers and smart phones are super media that integrate video, audio, and information. The ancients used portrait paintings as a memory carrier for future generations, but for today’s people, the focus of “watching” and “memory” is not how to convey the charm and temperament of characters and events, but how to “directly” in the chaotic daily life. "Capturing" the bright spot of memory-facing the various messages of "self-experience" and "media transmission", we are at the same time a calm editor and a cold-blooded third party.
The impact of technology on viewing has also affected crime novels and crime identification; such as Sherlock Holmes and a magnifying glass, Conan's built-in GPS glasses, Chase-pu sniper and sniper mirror, Saiyan and Scottrade. The closest combination of voyeurism and violence, such as The Terminator (1984) and Predator (1987). In the eyes of the Terminator and the Ultimate Warrior, life is only a captured heat source, and there is no other meaning. From these developments, it can be seen that in addition to changes in sensory experience, observation of technology has also become an omnipresent violation.
In the "Emergency Hunting Order," the predator and the prey are in a relationship of spying and being violated together. At the beginning of the film, we spied on the beauties in swimsuits who were about to die through the sniper perspective of the criminals. The sniper was shot back in a lens, and the sniper's eyes (barrel) were facing the audience. This shows the intrusive nature of snooping. The urban space where Harry and the murderer are located is no longer a plane and life function, but a tracking path, an escape route, and a search for barriers—the concrete jungle has become a deceitful hunting place.
In the novel "War Painter" (El pintor de batallas, 2006), photography (observation of modern experience) and aggression are closely combined, and a black humorous contrast is made: a war photographer is shooting a sniper shooting scene, and a sniper In the social chat, the photographer casually asked: do you have a specific choice when choosing prey. The sniper told him: A few days ago, an idiot photographer was dangling under his sniper scope. I told myself there were only two bullets left. Go home and sleep. That idiot photographer is the questioner. If battlefield photography has a mission, or an official mission, it is to become the eyes of the public, thereby "reminding the world of the abomination of human folly." But in fact, can intrusive (through an intermediary) visual experience achieve this goal? "Any slightest pain and ugliness will cause sensual happiness." The disgusting pictures (naked and corpse) across the intermediary are also feeding our habit.
News, radio, newspapers, and other public media are all disorderly (perhaps with a "compelling" order rule) arranged in different evils, so that a newspaper, a piece of sound, and a piece of video are flooded with countless "tiny things" in a short period of time. Mental pain" stops at creating happiness without thinking about it. The viewer's feelings created by destruction will make the film uncomfortable and become another tragedy).
Photography, binoculars, and sniper scopes, these classic elements of criminal texts, actually link the viewing horizons that we are accustomed to—infinite voyeurism (including the precise collection of images and text messages), and the emotions and emotions that are divided into image fragments. emotion. The operation of the director of "Emergency Pursuit Order" is here: in several shots, the director deliberately shifts the viewing angle, composition, and lens, so that the viewer becomes an indifferent third party, and through this indifference to the violent lens. Let us recognize the humble position of the viewer in the "hunting"-the short-lived sympathy, the pleasure of aiming at the ejaculation, and the limited control of one's own destiny.
Dirty Harry's iron-blooded law enforcement is a complement to the lack of state power-the charm of using violence to control violence, as long as there is still injustice in reality, it will not lose its appeal. However, as mentioned above, in the atmosphere of film noir, the boundary between the criminal and the pursuer is not so clear (otherwise it will become a cool film for police and criminals). The real evil may not be the criminals, but the "human nature" or "society" that induces them to do evil. In this way, the execution of illegal justice is not supported by the simple thinking of Tianxingdao. Every time an illegal justice is executed, the justice is not manifested, only in exchange for the self-questioning of the law enforcement-why does he do this? Why am I doing this?
Orson Welle (1915-1985, represented as "Citizen Kane" [Citizen Kane, 1941]) directed, edited, and played "Touch of Evil" [Touch of Evil, 1958]), he played a reputation The degenerate law enforcer of far-reaching. He forged evidence and forced a confession to make the perpetrators break the law. In the end, the law enforcement officer was exposed to another policeman who insisted on justice and was killed. At the end of the movie, corrupt police officers, justice police officers, and old colleagues of corrupt police officers conduct a two-party spy. They spy on each other in the dark, walk in the deserted oil factory, and the mining machines operate on their own—just like human destiny. Life runs like a machine, and at the same time it is shattered by the machine. This is the possible end of Dirty Harry.
At the end of the film, Harry left the police badge, which symbolized the lawfulness and justice of police officers, and left alone. The camera slowly zoomed out, leaving only the tiny figure of the law enforcement in the empty mining field (echoing with Orson Wells again). We don't know if Harry can return to the righteous ranks, nor if he will become another fallen law enforcement officer when he returns.
View more about Dirty Harry reviews
