A perfect score for Sniper?Give up the red and green Zhang Yimou, exposed the master’s fangs

2022-06-03 0 By

In the Spring Festival cinema, “Sniper” is undoubtedly the most amazing one. After “On the Cliff”, “Sniper” once again placed the perspective of Northeast Asia, thus forming the geopolitical ecology of Northeast Asia and film intention enough to support the current zhang Yimou’s new film pattern.After “Shadow”, Zhang Yimou’s prejudice against cool colors has long been known to the audience. Compared with his earlier popularity, Zhang Yimou’s pursuit of black and white, pure and simple colors, his changes are also obvious.Tone is only the external form, behind is the symbolic embodiment of the character.In the early publicity tone, the character is bold and unrestrained publicity, on behalf of the young vitality.”Great Wall” is tonal use extreme, “shadow”, however, abandoned, more film in black and white ash three color use, character gradually internalized and jorge posada, of course, in the pursuit of the colors “shadow” is not an end, until the precipice “and” sniper “, cool color attune and even spread to the whole picture.In Sniper, Zhang Yimou uses ice and snow to create images.In the white color, all people and things are clearly amplified, and the subtle between the figures through the white snow set off, become more conspicuous and strong.In the picture, the audience acts as a witness and a bystander, and the subtle movements of the enemy and me are exposed to the audience’s vision. However, the objective ignorance between the characters obviously constitutes a strong sense of sensory contrast.This sense of contrast is the power and value of snow and ice on the screen, where snow and rock together form an invisible presence that blocks the view of both sides.If we analyze the image of white in symbolic sense, we can combine the movement of snow with the movement of human heart.The presence of snow in an oppressive environment completes the shaping of God’s vision.In the early part of the movie, the powerful counter-force formed by the struggle of the human world and the calm and objective of God is everywhere.Especially in the first half of the scene where snipers on both sides face off and do not fire a single shot, the sense of suffocation is very strong.Snow, as a witness who does not participate in the fight, sees the whole process of fighting and fighting. The tension between tension and calmness, cruelty and objectivity becomes profound because of the existence of snow, which also gives Sniper a strong artistic sense.Of course, snow is not only an outdoor scene, but also the symbolic meaning of its existence.In “On the Cliff,” snow became a symbol of burying evil, and in “Sniper,” snow became closely associated with death.Around each dead body, there must be snow, and eventually as the movie goes on, snow gradually covers the body and turns into the tomb of each fighter.Fresh life is surrounded by ice and snow, which further sets off the cruelty and brutality of war.In this sniper focused campaign, external conditions everywhere restrict our actions and movements, and affect the inner changes of the character.The external purity and the inner agitation constitute a strong contrast, while the external stillness and inner stillness make the film complete the unification of man and the world.Moviegoers who are familiar with domestic war films may already be familiar with the routines of current war narratives;With no shortage of big scenes and themes, Operation Red Sea and Chosin Lake were both successful.In the context of the grand war, the depiction of the group war and the superposition of the explosion senses complete the presentation of the grand theme and meet the audience’s sensory needs.But the individual character will inevitably be diluted by the scene, the character character can not be further described.Domestic war films are not short of big scenes, but excessive scenes and the appearance of unbeatable heroes will inevitably lead to the distortion and fiction of the story.In Sniper, Zhang focuses on living individuals, so that each person’s personality is deeply focused.The Chinese and American soldiers in the film are real, fleshly and in line with my audience’s emotional logic cognition, which is admirable and also the embodiment of Master Zhang Yimou’s writing.The behaviors and actions produced by this are more likely to give us real resonance and shock;The characters’ decisions of discipline, teamwork and sacrifice are easily understood and sympathized with by the audience.During the filming of the film, zhang yimou and his daughter did a great deal of historical research, including military science, war science and history, into every detail of the film.Zhang yimou’s team was willing to wait for snow to make sure the scenes were true to life, and the natural scenery was a testament to Zhang’s craftsman spirit.In order to further complete the specific restoration of the historical period, the white robe and brown clothes of the volunteer army, the backward equipment sniper rifle, and the white helmet of the American sniper, all have a specific chronology.The consistency of white robe and Snow, the arrangement and presentation of weapons and equipment, the selection of the discourse system of sniper specific arms, as well as the study of tactics and strategies of both sides, complete the in-depth focus of the film on the real scene.Mastery of space sniper feeling, further shows the zhang yimou’s scheduling level, especially in involving images demonstrate this level of professional military, zhang yimou make military professional and formed a perfect unification, the appreciation of the visual space and atmosphere choking sense push each other, tactics and will collide with each other, let the film formed one after another unexpected wonderful scene.After all, when it comes to details, is it not the attitude and confidence that domestic war films should have?The war itself is the embodiment of the disorder of human struggle, and the emotions generated from it are certainly tragic and stirring.There is no immortal hero, only immortal spirit. Death is of certain significance to the overall structure of the film. The depth of death measured in Sniper is better than similar war films made in China.Death in Sniper is no joke, every volunteer’s sacrifice and the death of an American soldier is critical and affects the whole picture.What impressed me most was that Liu Wenwu, played by Zhang Yu, sacrificed himself in the middle of the film with explosive bags. The death of the leading character does not mean the end of the film narrative, which is also consistent with the double leading role formula left by Zhang Yimou in The Film On the Cliff.Even if the body is destroyed, the spirit can be passed on.Liu Wenwu left Dayong not only a heroic self-sacrifice, but behind the mission to follow and beyond the meaning of death.Without excessive heroism, the significance of the team is highlighted. The inheritance of willpower is naturally transformed into the protection of information, the release of self-energy and the high unity of body and mind.Dayong finally annihilates the enemy, which is the overcoming of his inner fear and confusion, and all these are the spiritual wealth left by liu Wenwu’s death, which guides dayong’s life, endows him with the possibility of spiritual strength rebirth, and is enough to undertake the important task of protecting intelligence.Ohsunaga’s mission is more like a major shift in personal spiritual growth, and Sniper perfectly blends personal growth with collective mission.The victory of Dayong is to surpass the original self, to grasp the firm willpower, to follow the noble feelings and to protect the mission responsibility.To become a real sniper and complete the mission of guarding intelligence, the high consistency of individual fate and collective fate is the real connotation of sniper.