The first film about the serial maniac. Acute social theme. The tape that taught noir to be noir. And with all this - such a boredom. The action is infinitely stretched, sometimes annoyingly slow, crammed with meaningless details. For that time, the very theme of the film was shocking enough; this alone determined the significance of the tape.
The action is often stratified into equally uninteresting sub-lines. The development of the plot, like a sleepy fly and stumbles on every little thing, the characters "go there, go here", the passions do not occur, the disclosure of any characters - too. We never know anything about the killer. Naturally, he wants to be saved, naturally, his inclination is deep and strong - and that is all we know. The hero does not cause neither sympathy, nor interest, nor disgust. He just doesn't care. Peter Lorre all the way playing with bulging eyes and hysterical cries at high notes. In the court scene a few more successful. Even with a discount on the mannerisms of the game, characteristic of that period. Nothing we do not know about the victims. And indeed about anyone. Everything is very impersonal. The logic of the actions of the characters leaves much to be desired. Both the third and fourth victims, as if nothing had happened, are dragged along the streets, communicate with unfamiliar uncles and gladly accept gifts from them. Very strange, especially - against the background of hysteria that swept the city. Parents at the same time crave reprisals and do not itch to control children. The Minister of Police calls the police commissioner, but no one enters the curfew. People rush at everyone who talks to children, but the maniac with the fourth victim hangs out quietly on the street and in the pastry shop until the evening, and no one pays attention. The mother of the third victim is shown working at home, lamenting about the safety of children - but she will not even think about meeting a child from school. And so on and so forth ... In the finale, one of the heroines with anguish says "to take care of our children should ... someone ... YOU." An invaluable thought.
In general, the most clever and adequate appear to be criminal elements. They calculate it, and catch it, and are able to quite reasonably and logically substantiate their position. Their behavior is both rational and reasonable, unlike other "groups of the population". The leader of the criminal community is just the quintessence of common sense. Presumably, the director wanted to show the ugliness of the illegal court, the rage and brutality of the vigilantes, which is noticeable in the manner of shooting. However, his aspiration is not supported by anything. Citizens hungry for the death of murderers are not only completely in their minds, but also cause understanding.
Successfully: parallel installation of the police and criminal community meetings;
showing the growing hysteria in society and its first victims;
the killer's performance with a characteristic melody;
the image of the blind seller is the only one that evokes some emotions and is memorable.
5 out of 10
The action is often stratified into equally uninteresting sub-lines. The development of the plot, like a sleepy fly and stumbles on every little thing, the characters "go there, go here", the passions do not occur, the disclosure of any characters - too. We never know anything about the killer. Naturally, he wants to be saved, naturally, his inclination is deep and strong - and that is all we know. The hero does not cause neither sympathy, nor interest, nor disgust. He just doesn't care. Peter Lorre all the way playing with bulging eyes and hysterical cries at high notes. In the court scene a few more successful. Even with a discount on the mannerisms of the game, characteristic of that period. Nothing we do not know about the victims. And indeed about anyone. Everything is very impersonal. The logic of the actions of the characters leaves much to be desired. Both the third and fourth victims, as if nothing had happened, are dragged along the streets, communicate with unfamiliar uncles and gladly accept gifts from them. Very strange, especially - against the background of hysteria that swept the city. Parents at the same time crave reprisals and do not itch to control children. The Minister of Police calls the police commissioner, but no one enters the curfew. People rush at everyone who talks to children, but the maniac with the fourth victim hangs out quietly on the street and in the pastry shop until the evening, and no one pays attention. The mother of the third victim is shown working at home, lamenting about the safety of children - but she will not even think about meeting a child from school. And so on and so forth ... In the finale, one of the heroines with anguish says "to take care of our children should ... someone ... YOU." An invaluable thought.
In general, the most clever and adequate appear to be criminal elements. They calculate it, and catch it, and are able to quite reasonably and logically substantiate their position. Their behavior is both rational and reasonable, unlike other "groups of the population". The leader of the criminal community is just the quintessence of common sense. Presumably, the director wanted to show the ugliness of the illegal court, the rage and brutality of the vigilantes, which is noticeable in the manner of shooting. However, his aspiration is not supported by anything. Citizens hungry for the death of murderers are not only completely in their minds, but also cause understanding.
Successfully: parallel installation of the police and criminal community meetings;
showing the growing hysteria in society and its first victims;
the killer's performance with a characteristic melody;
the image of the blind seller is the only one that evokes some emotions and is memorable.
5 out of 10
Комментариев нет:
Отправить комментарий