|
|
 |
| 首頁 Home | 電影 Films | 評論 Opinions | 戲院 Cinemas | 資訊 Information | 網站地圖 Site Map |
首頁 ->
評論 -> 新片評論 ->
Home -> Opinions
-> Current Film Reviews ->
| 影評人 Critic | ||
| 評論日期 Review Date | ||
| 評分 Ratings | ||
| 劇本 Script | ||
| 演員 Cast | ||
| 製作 Production | ||
| 藝術性 Artistic Value | ||
| 娛樂性 Entertaiment Value |
This French production intended for international distribution entails a deluge of filmic substances. Contrary to the expectation of the public, it is not a French version of "Pearl Harbor" (Dir: Michael Bay, 2001) but a movie under a mix of genres of romance, war and mystery resembling Sherlock Holmes'. The story is told in a restricted narrative that establishes a mystery (whether the main character, Manech (Gaspard Ulliel) is still alive after the war) and the search for the truth under piecemeal information precipitated fairly evenly throughout the film generates a moderate degree of suspense.
The film opens in medias res the escort of 5 self-mutilated soldiers for exile in a battle zone as penalty, under a voice-over. Right from this beginning, the story telling mode under flashbacks and voice-over is initiated, leading with the omniscient camera the audience across the present, the past and different locales. Story progression is propelled by a complex narrative structure that moves back (in flashback) at certain interval to reveal different versions of the truth (actually different perspectives of the soldiers). The narrative is communicative and overt, particularly under voice-over, in the first half of the film when the audience is introduced the background of the characters. It evolves to become covert and suppressive in the second half when the genre element of mystery becomes dominant, especially when the main protagonist, Mathilde (Audrey Tautou), collects piecemeal information about his fiancé's where-about. In this non-linear narrative structure and the fast pacing plots, the audience may find it a bit arduous to digest the bundle of information despatched throughout the movie.
Director Jean-Pierre Jeunet deliberately makes a Sherlock Holmes' outlook for Mathilde, which is in parallel with her detective-like search for truth in the diegesis. Jeunet uses a multiplicity of visual effects in the film, especially juxtaposed images, shot in shot and colour-coded plots (sepia tuned images for all Mathilde sequences and grey for all battle sequences). The close-ups of the characters are unconventionally shot under wide lens so that the characters' images are slightly distorted, giving a strange outlook (perhaps to suggest the inquiry mode of story). A visual motif in terms of camera movement is adopted by Jeunet as almost all establishment shots of open locales are constructed by aerial crane shots in fairly fast camera movement.
The battle and love-making sequences in the film is no less expressive than its counterparts from the States. It is a readable product of rich filmic properties, an ample amount of romance and a little bit humour. Nevertheless, the close-up of Mathilde with her hat on and her eyebrow astringently shown under wide lens presents an uncomfortably serious outlook to the audience.
註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic
who wrote it and do not represent the stance of our website.
相關連結 Related Links
|
Copyright(C)
1999-2011 Hong Kong Internet Ventures. All rights reserved.
|