How did Bad Kill cross the minefield of remake

How did “Bad Kill” cross the minefield of “remake”
For domestically made remake movies, as long as it’s not inconspicuous and hard copying, and rough and indiscriminate, we don’t have to sniff and talk about the color change.Because even the same script, and even the pressure of Zhuyu ahead, different directors, different creative teams reintegration and innovative interpretation, can also bring classic shock and surprise to the audience.The most recent remake of “The Manslaughter” is a remake of the Indian movie “The Manslaughter”, whether it is in the plot adaptation, details grasp, actor level, or scale shaping, there are good performances.To amplify the conflict in the drama, to shorten the tension of the plot adaptation, it is inevitable that “The Manslaughter” is indeed a rare good story.In order to protect the family by burying the body to cover up the truth, the villainous female director tried his best to protect the family. The two families and the two strata launched a “cat-and-mouse game” type of fatal contest around the same case.In 2015, “The Manslaughter Hidden in the Sky” swept the box office around the world as soon as it was released, which once triggered a discussion among the Chinese about the high-quality adaptation of Indian films.In the domestic version of “Missed Kill”, the essence of the original film has been well inherited and retained. The director continued the distinctive features of the original film in the language of the lens, and used a lot of cold shades and interlaced time and space to edit the montage.At the same time, it also made a reasonable adaptation of the plot, switching between creating tension and suspense and showing a wonderful reversal.The Indian version of “The Manslaughter” and the Chinese version of “The Manslaughter” are shown in the picture.The main inclusion of the domestic version of “Bad Kill” is reflected in the narrative rhythm and drama tension of the plot.In terms of rhythm of narrative, Indian movies are frequently three or four hours long, which is not a good thing for suspenseful and detective movies that pursue a tense rhythm.Under the circumstance, the domestic version of “The Manslaughter” is not bound by the length of the film, and it is more flexible in the layout and presentation of the plot.The director deleted the lengthy picture of life in the original movie that was not related to the main story, so that the whole story was more compact and capable.In terms of drama tension, the domestic version of “Manslaughter” feels “four or two pounds” for several highlights of the original plot.The first intervention is the appearance of La Yun (Chen Chong). The detection of a suspicious homicide portrays La Yun ‘s smart and capable Rayleigh style. This kind of foreshadowing is more reflective than the direct appearance in the original version.The confrontation intensity of the main plot behind.The second part is to upgrade the cause of the contradiction, upgrade the candid camera bath of the original story to drug abuse, the upgrade of the “rich second generation” evil acts directly leads to the revolt upgrade of the victim family, and the case engine of the male owner’s family also avoids persuasion.The third alignment is to replace the Indian version of the “Listening” with “Watching Muay Thai”. In this step, the director cross-cuts the martial arts shot on the ring of Muay Thai with the shot of the “rich second generation” beating Ayu’s mother and daughter, both in the environmentThe description in the middle has formed a response to the fictional country “Sai Guo” in the film, and at the same time, it has added antagonistic colors to the precise modeling.These three contractions, portrayed by opponents, motivated to analyze the three dimensions of the environment and set the ground separately, and step by step push the story rhythm to the opposite sharpest climax.The Indian version of the female sergeant and the Chinese version of the female sergeant (Chen Chong).The language of the camera is properly used. Although the image of “Sheep” is always directed by a newcomer, the film ‘s control of music, soundtrack, and lighting is familiar, and the awareness of using the language of the camera to assist in narrative is also in place.It is believed that many viewers were impressed by the scene in which La Yun threatened Li Weijie (Xiao Yang) ‘s young daughter “An An” at the police station. Under the backlight, the police chief slowly pressed the huge dark shadow on the little girl “An An”.Coupled with the switch between the tilt and tilt camera, a huge sense of visual pressure is formed, which portrays the little girl ‘s helplessness and the powerful power of the police chief, which makes the audience and the plot quickly empathize as if they are themselves.It is about to be swallowed by the shadow, and the whole person unconsciously wants to curl up in the seat.Also exciting was the scene where the coffin was opened in the heavy rain to open the dead body. The director used slow motion in this part of the scene, the rain fell, the anger of the crowd, the despair of the family, the hatred of the bad policeman, the thoughtfulness of the male master,The director’s disregard for everything was dealt with under the slow-motion process. It was still and magnified. The slow-down camera speeded up the plot rhythm, which effectively shaped the suspense problem. The moment the camera returned to the normal double speed, the answer was revealed, maleThe Lord completed the final blow under the witness of heavy rain and the crowd.The multiple occurrences of “sheep” in the film can be understood as a symbolic presentation of the content of the film by the screenwriter, which is another lens language that resorts to morals.The author was most impressed four times. From the beginning, the flock saw the male owner throwing his car at the lake, which implied that the male owner was guilty. In the incident of police assault, the sheep were killed by the bad police, implying punishment instead of the male owner.The opening of the climax opened the body, and Sucha ‘s body was replaced with the last shot of the sheep ‘s body, which meant to help the male lord cover up the truth; until the last male surrender, until the bell rang, the cheerful live sheep reappeared, meaning the male lordI have let go of my heart.The image of “sheep” penetrates the whole film and is reorganized, forming a point and echo with the English title “Sheep Without a Shepherd” (literally translated as “the sheep without a shepherd”); replacing it also implies localThe relationship between the police and the public and the security environment. The flocks only prayed to eat grass and live peacefully. They do n’t care who wears wool on them, and the shepherds who are in power no longer protect the flock, but become bullied.Butchers of the flock, the flocks can only stand up to resist.Why did the good man Li Weijie choose not to call the police but to rebel after the manslaughter in self-defense, this is a question from the screenwriter and director through the image of “sheep”.The comparison between the two families, the two moral choices are under the pressure of Zhu Yu, and a remake movie wants to occupy a place in the audience’s heart. It is not enough to change the way to tell the old story again.It must give people new touch and inspiration beyond the story.Obviously, suspenseful reasoning is only the lens of the “Skill” side of the domestic version of “Massage”; moral choice is the quantitative expression of the “Tao” side of the screenwriter and director.In this story due to “manslaughter”, two families from different classes had to launch a desperate contest. This contest was not only reflected in the unequal stratum division and power, but also in the inequality measured for parentson.Sucha ‘s father, the “rich second generation”, has the power and power but is busy with political struggles. He has never really fulfilled his father ‘s responsibilities. Even if he knows that his son may be unpredictable, his first response is “do n’t affect the election of the mayor”;On the other hand, the male owner has a modest economic income. Even the cost of his daughter ‘s wish to go to the summer camp will make him hesitate, but once the child has an accident, his first choice is to stand up and “stop in front of the whole family”.It can be seen that the care and protection that parents can give their children has nothing to do with the power of money, but is related to the value choice of parents.The male host ‘s choice to stand up twice in succession, one is to protect the family, falsify the evidence, and cover up the truth; the other is also to protect the family, stand up and surrender, confess guilt, and shape the image of the father of this small town.Tall, tall and radiant.In fact, it is not difficult to understand Li Weijie ‘s first choice, that is the frustration and rebellion of the upside down of social order.His second choice, which is really reminiscent of him, since his “montage” plan has been successful, why did he suddenly surrender in the end?The reason for him to make this choice is also because of his understanding of his father’s role.After the “cool drama” of the heavy rain riot, the director Yun Danfeng gently cut into the conversation between the male and the couple on the balcony. An An changed the “70 points” on the test paper to “100 points”, which most people did n’t even take for granted.The little act of innocent and lovely made this father look solemn and full of self-blame.He himself, his seemingly wise and brave behavior saved a family, but he changed the value judgment of the children with the perverted reality. He can only stand up again and use his own behavior to alienate the child.The assessment correction is back.□ Lin Zhonglu (film critic) Sauna Night Editor Wu Longzhen proofreading Liu Baoqing