"In the black-and-white picture, which pulls away all colors, there are long red dresses, dark green sports cars, blue eyes, mustard yellow skin, and fluorescent silhouettes. www.biquge.infoLancelot-Strello flipped the color palette and used colorful colors as a weapon to build a dark city without law, morality, and bottom line on a black and white canvas, where crime is the truth, violence is eternal, and evil is normal.

Quentin Tarantino once pushed the charm of lines to the pinnacle in 'Pulp Fiction', wise and sarcastic, vivid and profound, even if the picture is removed, the movie can be used as a wonderful storytelling. The characters in the story are always chatting, always funny, funny, scared to death or daring. The dialogue in many movies is only used as foreshadowing or to advance the plot, and no one wants to tap into the charm of the written language itself, and Quentin has done just that.

Lancelot Strello pushes the charm of the picture to the extreme in 'Sin City', and even without the sound, the film can become a wonderful painting and work of art to enjoy - not a shot stacked with computer VFX, but a delicate picture built frame by frame, from the shooting angle to the scene setting, from the use of lighting to the use of color, and even the direction of movement and body language of the characters. For film, the picture is an indispensable means of expression, but no one wants to really dig out the reflection and aftertaste brought by the picture effect, and Lance has done it.

At the beginning of the movie, there is such a scene, the killer is holding the body of a woman, kneeling on the top floor of a high-rise building, and the wind and rain are raging. The woman wore a long bright red dress, and she had a breath of breath and did not die immediately; The killer hugged the woman tightly, as if feeling her body temperature, his knees on his knees seemed so reverent, and the loneliness between his eyebrows loomed in the sharp light; Rains fell from the sky and fell beside them, gently rippling, and the wind that was constantly blowing around them made people shudder.

This picture is definitely not that simple. The conscience of the killer contrasts with the coldness, the death of a woman contrasts with the vividness of the red dress, and the storm contrasts with the loss of life. If you look closely, you can also see that under the dim lights of the city, there is this group brawl in the background of the high-rise building, and the surrounding people are watching, and no one is calling the police, just like a 'fight club'.

In just one picture, Strello quickly sketches the face of the city, and even the personalities and situations of the two characters, with no lines or soundtrack, and everything is laid out there, waiting to be discovered by the viewer. Strello's images always have an off-string sound. ”

This review comes from the famous Roger Ebert, and after "Killing with a Knife", Roger once again wrote a professional review and published it on his personal website. Just this detail can be felt Roger's admiration and love for Lance.

In the commentary, Roger played his cards according to common sense and analyzed the visual style of "Sin City", but the angle of analysis was different, raising the use of the lens in Reims's works to a theoretical level, and making people feel the uniqueness of Reims's works for the first time. In addition to "The Day After Tomorrow", this can be clearly felt in the other three works of Reims, which also gives the layman a real glimpse for the first time: why Reims was able to win the Oscar nomination for Best Director for two consecutive years!

However, Roger's assessment of "Sin City" is more than that.

"Adapted from the original comic of the same name, 'Sin City' uses a circular structure to tell four chapters, the customer is God, the difficult goodbye, the brutal killing, and the yellow mongrel. But unlike the shocking disruption of the linear structure of 'Pulp Fiction', the four stories are not broken down into pieces and rearranged and combined, but in a manner similar to four parallel stories, from individual to whole, and from whole to individual, presenting the full face of Sin City.

Beginning with a killing that cannot be traced back to the roots, the prelude to Sin City is unveiled, and the flower of sin slowly blooms; It ended with a black-eat-black killing, declaring complete chaos in Sin City and extinguishing the last glimmer of hope.

Strello uses a unique perspective to interpret the sin city that Frank Miller once depicted, but gives it a deeper and heavier practical meaning: when justice ceases to be a means of resistance to evil, when people become accustomed to ignoring crime, when self-interest begins to take precedence over all things, the sin city is our future.

This is an interesting topic because we have always believed that the lawless chaos of Sin City cannot be realized, just as we believe that the end of the world will not come the day after tomorrow, just as we refused to believe heliocentrism in 1592.

Simply by dividing the 'Sin City', Strello presents us with a chaotic and dark world, where government institutions are useless and serve as a means of defense against further violence; Religious belief has fallen into darkness, turning the blade of faith into an excuse for personal gain; The heroes of justice are too busy to take care of themselves, and their blood-stained hands have forgotten the so-called justice and have been reduced to a medium that only counters violence with violence.

The so-called justice, morality, and law are all gone, and there is only the distinction between evil, more evil, and the most evil, and no one is innocent. In all four chapters of the film, there seems to be a character who represents 'justice', but they all end up killing hope.

The killer in the first chapter does the right thing for heaven, but kills innocents; The dirty policeman/inspector and the innocent girl in the second chapter, but the dirty policeman/inspector is forced to commit suicide, and the innocent girl is brutal and bloody; Quasimodo in the third chapter, after his hands were stained with blood, was sent to the electric chair by the law; The former criminal in the fourth chapter incarnates a gangster, exterminates the police/prosecutor, and builds his own system.

Since the movie has only just been released, most readers probably haven't seen it yet, so I'm not going to go too deep into spoilers. But I'll tell you, the hope in all four stories has been extinguished, and they have escaped into darkness and become evil. It's a film of utter despair, like the black and white colors of the film.

'Sin City' is a deceptively colorful but pure and profound film, built on a real and terrifying metaphor, which is a visual feast that cannot be calmed down for a long time.

The conversation is back to reality metaphors – what exactly does Sin City reflect? So it comes back to the title of this review: The Crime Trilogy.

Let's meet Lancelot-Strello's 'City of God' tells the reality that not far from our lives, there is a city of God, where sin and darkness run rampant, and that world is real and not far away, perhaps just around the corner. But we have chosen to ignore, to ignore, to be indifferent, to allow or even condone the breeding of evil, as if we had confined them to that area, let them fend for themselves, and the problem could be solved.

The story of the little overlord, red-haired, and handsome Ned, they are struggling at the bottom of survival, struggling to find a way out, but they are repeatedly disappointed, so they finally fall into the vortex of cannibalism and all perish. The only hope is that Ah Pao escapes, and he takes a job at the newspaper and becomes a photographer, trying to make the outside world hear his call.

So, has the society heard the call of a cannon? 'Murder by the Sword' gives the answer: no, everyone is so busy with their own lives that they can't even take care of themselves, how can they have time to deal with other people - at least that's how we convince ourselves.

In addition, the work 'Killing with a Knife', which is still being screened in theaters, has taken a step closer and thrown out a thought-provoking topic, Rashomon. Everyone finds excuses for their actions so that crimes are no longer crimes, as in the case of the war waged by George W. Bush, as if standing under the banner of justice, and all actions can be rationalized and legitimized.

In the story, Vincent takes killing for granted, just a means of survival; But Max didn't agree, so he fought it, so did he succeed in the end? Max and Vincent died together, but Anne, who represented justice, was able to escape - as for what Anne's future holds, the movie does not give an answer until the advent of 'Sin City'.

The indifference and connivance of society have gradually transformed the 'City of God' in another world into the 'City of Sin' in which we are living. This is not a purely commercial film, nor is it an alarmist prophetic prophecy, and this is not an unrealistic artistic creation, because in real life, we have witnessed all this.

Since 1955, there have been cases of priests/sexual/abuse/abuse of underage children in American Catholicism, and not just two at once, as many as eighty-seven in the Boston area alone; What is even more frightening is that the bishop has always been in the know, not only using the power of the church to suppress the news and covering up the truth through private reconciliation by lawyers without legal process, but also continuing to hire erring priests and transfer them to different dioceses, continuing to amplify the damage.

The creepiest thing is that this is not the first time it has been exposed. Once went to court, we ignored it; Once in the newspapers, we ignored it; We ignored the large cases that once involved more than a dozen victims.

This is the city of God, and this is the city of sin.

In the interview session after the premiere of Sin City, I asked Lance a question: How do you manifest your so-called social apathy? Why is it said that this is not a special act of a single individual, but a general act?

Here's how Lance replied: In 'Murder by a Knife', after the first murder accident, Max asks Vincent why he kills, and Vincent answers, 'Have you heard of Rwanda?' (To be continued.) )