In 1997, director Du Qifeng, screenwriter Wei Jiahui, starring Liu Qingyun, collaborated in a film called "The Birth of a Prefix". In the eyes of many people, this is the work that marked the birth of the later famous image of the Milky Way.
After 11 years, they reunited again, and reunited in the movie "Detective". In the Iron Triangle of Galaxy Imaging, Liu Qingyun is in charge of the performance, Wei Jiahui pays attention to the plot tension and plot direction, and Du Qifeng is best at pictures. The three people stand on their own and make up for each other, making "Detective" perfect in terms of characters, plot, and pictures.
The so-called "magic detective", if it is literally translated according to the English title, is "madman police detective". Liu Qingyun plays a genius lunatic with a special ability to see the "ghosts" in everyone's heart. They are either violent, or greedy, or lustful, or cowardly. In fact, it is the dark side of everyone's heart.
The story of the whole film is centered on the detective, and a hunt for the murderer is launched. In this battle, Liu Qingyun seems to have always been full of prophetic wisdom, with an intuition that the audience can hardly understand, insight into every clue hidden in the corner. His way of handling a case is like the great detective Poirot written by British female writer Agatha Christie. The logic is basically based on imagination. These erratic details are just auxiliary props he uses to solve the case.
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The mainland version and the Hong Kong version of the film are different in some details and endings. Therefore, it is impossible to discuss the narrative structure of the film in detail. For many audiences, if they lack some basic common sense of audiovisual language, then the first If you watch "Detective" and other viewers for the second time, you may be a little confused about the plot.
A very important but important reason for this result is that in the film, director To Qifeng often switches silently between the "subjective point of view" of the protagonist of the film and the "objective point of view" of the audience, which will make some viewers have a different understanding of the story. obstacle.
The so-called "subjective perspective" is simply the world seen by the characters in the film, and the "objective perspective" is naturally the world seen by the audience. Generally speaking, in feature films, the "subjective point of view" and "objective point of view" are often the same.
But in this film, Chen Guibin, played by Liu Qingyun, has the ability to see "ghosts" in people's hearts. The world he sees is the same as most of us, but completely different in special circumstances. Therefore, in "Detective", there are two worlds, one is the world of all the characters except Liu Qingyun, which is also our objective world, and the other is the world that only Liu Qingyun in the film can access, and it is also our objective world. different subjective worlds.
Since there are two worlds of reality and subjectivity in "The Detective", in order to distinguish them, To Qifeng also uses two perspectives, subjective and objective, to express it in the film. In previous films, in order to allow the audience to distinguish between these two perspectives, the director would mostly use lens language, picture color, sound effects, etc., which are different from the objective perspective, to distinguish the two perspectives. Audiences can clearly distinguish two or more perspectives without disturbing the film's narrative.
However, in order to highlight the theme of the film more profoundly, when Du Qifeng dealt with the switching between subjective and objective perspectives, not only did he not give any hints to the audience, but he also deliberately used various means to make the switching between the two seamless. This kind of creativity should be said to be very interesting, but in terms of specific performance, it also faces huge difficulties. Restricted by the form of expression, this film can only rely on the excellent performance of the actors to complete the perspective switching when dealing with changes in different perspectives. For the audience, this change of perspective is not obvious, and a little inattentiveness will cause confusion in understanding.
As a film art technique, this treatment is naturally very innovative, and at the same time adds a lot to the deepening of the film's theme and the overall narrative. But for most ordinary audiences, this overly artistic treatment undoubtedly increases the difficulty of communication and understanding.
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