I just finished watching "Sully" and this new work by Clint Eastwood is not as good as I expected. The movie scored 8.3 points on Douban, which is only one point lower than the 2004 "Million Dollar Baby". However, judging from the current viewing experience, I can only give it a 7 points. First, there is the issue of psychological identity, which must be discussed. The movie was a hit in the United States but failed miserably in China because of the psychological needs of Americans after 9/11. There is a sentence in the movie: "People need a miracle. There has been no good news in New York for a long time, especially airplanes." It is difficult for Chinese audiences to generate enough Empathy, so this movie is not needed for psychological comfort.

It is not difficult for the American godfather-level director Eastwood to make a 208-second water landing incident into a movie of more than 90 minutes. He has excellent rhythm control and plot advancement. High level. The film begins with a plane crash, as a frightening point, but it is soon discovered that it is a dream, followed by the dazed face of Captain Sally under the low music. The TV report narrates the incident from the side to provide clues. At this time, the emergency landing is over. back. It should be noted that the events in the movie actually begin here, followed by six flashbacks. The use of flashback narrative keeps the entire movie from being top-heavy and slow. But even so, the film is still a bit dull and makes certain demands on the audience.

There are three points in the film that can give a glimpse of the director's attitude. The first point is the virtual focus in the depth of field. The background is blurred when Sally is running on the streets of New York. Martin Scorsese's "Taxi Driver" I have done this before in order to express the loneliness of the protagonist. The second point is that the reports of the crash landing and the incident all appeared with the help of memories and television. Sally watching himself in front of the TV is alienating. Sally is isolated from the outside world and is still lonely. The third point is that the laughter and obviously ridiculing tone of the two drunkards and the bartender in the bar are not the proper attitude towards a hero.

The makeup artist kissed Sally on the face and immediately said that she was doing it for her mother. Her mother was single. This reminds me of Ang Lee's new work "Billy Lynn's Long Halftime Walk," in which the above three points can be found. The two have the same theme, the so-called heroes are in a state of imbalance, and people's attitude towards them is self-interested and even ridiculing. Their focus was not on people, but on events. After the fifth flashback, my wife called Sally and said that she had just discovered that Sally was one of the 155 people. I was moved. Sally's isolation from the world was finally over. break in.

While watching the movie, I kept thinking about what kind of dilemma the director would set for Sully. This dilemma must be big enough to show Sully's inner world, but it is obvious that the NTSB personnel did not cause Sully any trouble. Real psychological distress. 35 seconds has become the key to resolving the conflict. NTSB really fits the name, but it was stupid enough to forget to include the captain’s reaction time. This was obviously forced by the director. Why? Because this is an adaptation of real events, the impact on real people cannot be ignored, and the adaptation must be measured. This is the reason why the movie lacks real drama conflicts.

Faced with the biggest failure of the movie, Eastwood took two ways to save the situation. One was to join the line of his wife. During the phone call with his wife, Sally slowly revealed his inner world. He is worried about his career and his pension, and the NTSB's insistence means that he is now unable to work but faces high bills, but this dilemma is still not enough. The director then added another hidden line, that is, Sally successfully crash-landed a fighter jet when he was young. This may be one of the reasons why he chose to crash-land on the water. This is the real bullet that hits Sally's heart. The movie cannot show Sally. The inner disputes are only brushed aside through symbolic self-doubt. Because the image of Sally must be positive and cannot have any gray area. From the use of the camera in the final hearing, we can know that Sally's single shot corresponds to the NTSB multi-person shot. There is no need to say which one is stronger and which one is weaker.

I remember that after Feng Xiaogang's "I'm Not Pan Jinlian" was released, the reviews of film critics were obviously polarized. Some people felt that the movie just talked about things that happen every day in society? Not profound enough, not ruthless enough, far inferior to those underground directors. But other people think that as a commercial director, Feng Xiaogang deserves recognition for his ability not to be busy making money, but to take the risk of not passing the review to make a satirical film that may be released. What you have to consider is that under China's current film system, underground directors such as Jia Zhangke's "Destiny" cannot be released in theaters.

Eastwood actually faced this problem when filming "Captain Sully". Compare it to Robert Zemeckis's "Crash Landing". The latter is very obvious in terms of film techniques. It is much worse, and the pace is extremely slow, but because it is an R-rated film and the incident itself is fictional, he can try his best to explore the dark side of human nature and show the entanglements of human nature. As an adaptation of real events, the former is still a commercial film and had to choose between art and commerce. Eastwood chose commerce, and the American people also gave him sufficient support.

Public support and psychological factors have been mentioned before. As for "I am not a hero, I just did what I should do. Everyone did what they should do." I will not write about this American theme. Okay, not much to chew on.