When Vincent Roger arrived at the theater, the small square in front of the theater was already full of people.

"Vincent, it's amazing that you're here!" Powers happily walked over and hugged his old classmate.

"Jesse, hum...... If I didn't come, I wouldn't have wanted to sleep that night, so I had to cross the United States to ensure my sleep and health. Roger laughed.

"Come, let me introduce you, this is the owner of our company, Mr. Lucifer from Xiangjiang." Bowers introduced the new owner to him.

"Hello, just call me Vincent, Lucifer." Vincent was somewhat surprised by his youth.

Vincent looked at the man in front of him without a trace, although he looked suave and elegant, with a kind smile on the corner of his mouth. However, there was a cold brilliance flowing in those dark and bottomless eyes, with a looming alienation. There was so much precipitation in it that Vincent couldn't see clearly, and his intuition made him feel that he was not as harmless as he seemed to be to humans and animals.

It is rare to see something that is pleasing to the eye of the Oriental and can be remembered at a glance. You must know that they look at the Orientals the same. Such a god-like handsome face, a black casual suit, and a dusty temperament are unforgettable.

"Welcome, Vincent." Lucifer is fluent in American English and is easily favorable.

At least there was no problem with communication.

"Vincent, Lucifer is not only my boss, but also a genius director!" Bowers praised bluntly.

"It's really surprising, are the Chinese all precocious?" Roger joked. He found himself standing in front of him feeling old.

"Heroes have been teenagers since ancient times!" Lucifer said indifferently.

With such arrogance, Vincent Roger's brown eyes flashed slightly, "I can't wait to watch the movie now." ”

Lucifer leads Roger and them into the box. There were already more than a dozen colleagues seated in the box, as well as a handful of reporters. Everyone knows each other, but Roger still found that there are still fewer reporters in heavyweight newspapers, and he is also a Chinese director? Pouting......

It is also a small company that is not well known in the industry. Although it has its own distribution channels, it is still far from the Hollywood giants, but it can make the film giants work so hard and show them in such luxurious theaters. Vincent was curious. Here's how they did it.

The film begins, and the viewing hall darkens all of a sudden, but it begins with a corporate logo that any film company would have. People learn from these famous signs such as the lion. You can know which company's work it belongs to.

The Paramount logo was inspired by that mountain, and the Columbia Pictures logo came from the woman holding the torch.

Of course, Emperor Pictures also has it, designed by Lucifer himself: a quiet sky at night, a silver dragon in the sky in the sparkling water. A little girl flies on her stomach in the air. This scene instantly created a wonderful and magical dream, which was people's immature dream in childhood, people had already lost her, but Dimen Pictures presented them to people again, and kept the fairy tale story forever in the purest place in people's hearts.

In conjunction with Nixon's visit to China. It's very appropriate.

The people in the screening room downstairs couldn't help but exclaim, "Wow! So beautiful, pretty! Ride on the back of a silver dragon. ”

Someone couldn't help but applaud, and Lucifer pursed his lips and smiled.

This is followed by the feature film, which begins with Bonasella's narration, whose face emerges from the darkness, and the three-dimensional close-up of the face contrasts sharply with the pitch-black background. The picture is sculptural.

Bonasella spoke about America, about his family traditions. For the audience. The Sicilian tradition of focusing on family is impressive, and this is the main thread of the film, which is emphasized from the first scene of the opening.

Bonasella went on to say that he believed in the United States, but society could not give him justice. During the narration, the picture never leaves Bonasella. This long monologue is difficult to perform, and how to make it not seem boring in the narrative, so that the film can vividly convey the meaning when asking questions, this actor does a very good job.

As the camera zooms out, the back of the actor appears in the frame. Through a gesture that instructs his subordinates to pour water, the audience understands that the monologue actor is not the main character of the film, and easily shifts the audience's attention to the person who is currently only showing his back. There is no dialogue, only a moving element in a still picture, and the director does it.

Just in the opening scene, all the actors can reach the same height in performance, so that the audience will not be distracted by the uneven level of the actors in the process of watching the movie. This also reflects the director's skill.

A new Chinese director, the casual Vincent, was interested.

As the man in the dark gets up from his chair and the others begin to move, this small-scale scene scheduling is not only a reflection of the natural relationship between the characters, but also emphasizes the position of the male protagonist. The picture moves from static to rhythmic, and the rhythm transitions naturally.

Solve Bonasella, explain the scene information through the mouth of the old godfather, and the camera shifts from indoor to outdoor.

For the first group photo, give a group portrait of the godfather's family members. However, Mike didn't show up. No old godfather Mack refused to take a group photo, once again emphasizing the Sicilian tradition of paying great attention to family. This detail is very ingeniously designed, and it also triggers the audience's inquiry into Mike**; Through Mike's tardiness, it is also implied that Mike is outside the family concept, which is a foreshadowing before the story really begins.

By telling the story of the old godfather and Johnny. Fang Ting's story, Mike's disagreement with his family surfaces. At this time, Mike and Kay have similar values, he is still close to mainstream orthodoxy, and he disdains the actions of his family.

At first, Mike said in a helpless and contemptuous tone, "My father made a condition that he could not refuse", but seeing the crisis that followed the family, Mike forced Mike to abandon his initial belief, and this sentence later became his mantra. Mike's transformation from being estranged from the family concept to finally becoming a new generation of godfathers has begun. When Mike says, "This is my family, not me," the story of his fall really begins.

The second clip is the part where McCorleone kills his father's rival Sorenzo and the police chief. The dialogue between Mike and Sorrenzo is not a simple pro-back, but interspersed with a lot of close-ups of the face, with Mike accounting for the majority. When Mike goes to the bathroom to look for a gun, the scene where Sorrenzo and the police chief are eating in the restaurant is interspersed with Mike looking for a gun, forming an echo.

Mike's search for a gun was not smooth sailing, but it took a long time. The audience doesn't know who has the upper hand, they don't know if Mike will succeed in taking out his opponent, and the sound effects of the train moving at the right time make the atmosphere even more tense. When Mike comes out and sits in his chair, the director uses a camera movement that is the opposite of the first shot in the opening scene, transitioning from an over-the-shoulder shot to a close-up. As the camera pushes forward, the sound of the train gets louder and louder, and Pacino's eyes turn faster and faster, and then suddenly he stands up, and the sound of the train is gone, only the sound of gunfire remains.

The climax of the film is the most memorable cross-cut of the most wonderful purge. To a certain extent, cross-editing reflects a director's editing skills. The longer the time, the harder it is to cut, and the more narrative lines there are, the harder it is to cut. Another important criterion for determining the difficulty of cross-editing is the presence or absence of lines. If there are no lines, the editing difficulty will be much lower, and if there are lines, the difficulty will be much greater, which is a watershed.

This passage combines killing with beautiful and sacred things like sex and baptism to form a conceptual shock. The Godfather has six lines, which is a lot, and the manner and place of death of the five mafia leaders are well chosen, providing good source material for cross-editing.

The most commendable thing about this cross-cut is that it has a thread, which is McCorleone's baptismal service in the church. This line makes it the best benchmark for cross-editing.

McCorleone's conversation with Father Priest basically points to his tragic fate and his inner thoughts. He hated violence but stayed with him all his life, and he was powerful but never at peace.

At the beginning of the story, the film repeatedly emphasizes the importance of "family" to Sicilians, creating a context for the audience that Mike is "innocent". On the one hand, the movie chronicles Mike's transformation from a fighting hero with orthodox values to a gangster who swears to lie to God in the church, and even plots to kill the child's father and his own brother-in-law while being the godfather of his nephew; On the other hand, the film is trying to create a context in which everything Mike does is "forced". Through the concentrated expression of these contradictions and conflicts in the process of Mike's fall, the audience is forced to think about a series of issues such as society, family, justice, power, wealth, etc., and the theme of the film is sublimated.

After the film, Vincent stood up excitedly, "It's wonderful, Lucifer, thank you for making such a good movie, I'm going to write a one, no, ten reviews for your movie." ”

Lucifer was so pleased that he even said, "If you want, you can watch it here a few more times." "Someone took the initiative to open his eyes for him, of course he was welcoming, in fact, every time he watched it, he had a different new experience.

"What makes men so obsessed with The Godfather?" Vincent Roger's film review begins with a mysterious answer, "It's our man's Bible, and it contains all the wisdom." ”

I was ready to put forward a condition to him that he could not possibly refuse. That's his negotiation skills. He was an elegant gentleman with a martini in one hand and a butcher's knife in the other; It is a professional executioner who talks about dirty business and wears a noble suit; He only needs a gesture to make it difficult for others to keep their money; A smile is enough to turn a fight into a jade silk. (To be continued......)

PS: Ask for recommendations!!