3 Sundance #3; Ishiguro gives Ikiru a sprinkle of poignancy distinctive in his literary works, and his screenplay successfully transplants this story to 1950s England, a period the director replicates aptly both in its appearance and its texture. However, Living does feel rushed at times and inevitably lives in the shadow of its Japanese counterpart. The first half of the film gives too little time to establish the setting, so while the life of Mr. Williams stands on itself, the final satire on the British bureaucracy comes especially less pointed and even disjointed from the rest of the film. Certain actions also feel out of space and added simply for being faithful to the original film
泛黄的照片和泛黄的历史偏执狂亡命徒的浪漫末路最后两人举枪飞奔定格成泛黄照片西部的历史感排山倒海如同此起彼伏的枪声估计是rdr2的主要原型跋山涉水逃亡颇有我当年手残的样子一个话痨一个偏执学西班牙语抢劫的片段喜剧效果极佳估计启发了后来的盖里奇昆丁天马行空的剪辑手法和运镜暴食的狂战士在线观看特别是纽曼骑车载姑娘那段运动的栅栏将画面切分成了走马灯开场、后面进Bolivia转场用的黑白照片蒙太奇极富诗意反常规的流行音乐使用也强化了这种不真实感比如墨西哥警察追捕那段用的South American Getaway原来Sundance电影节是打这来的B. J. Thomas