PAPILLON
I have seen a lot of French movies, so I think I should accept the mainstream of Hollywood now, and have a negligible relationship with France - Papillon here and there. [Coincidentally, the two films have another feature that is completely opposite to the Hollywood norm - neither has love.] Maybe not. No one will confuse Franklin Shafner with Truff, Godard or Walda.
Still, even though Papillon is truly one of the heaviest major studios ever released, it still has the power to power this story as Henri Charriere really escapes from Devil Island and lives stronger and strengthens the story. Schaffner's great facilities for this kind of picture are a good thing, because the mistakes in the movie are incredible - liquid, blood and water, are clearly splashed on the camera lens and completely destroy all suspenseful suspense. The scene of the guillotine is inadvertently interesting, continuity and editing stupidity make you wonder if the cast is stoned during the shooting and post-production process; and Papillon sneaked into the penultimate scene of the ocean, we can clearly see the diver Supporting the float below him - it's easy to tell that he or she can almost become part of the story - these are real degeneration and not worth it. [In fact, more errors, it's easy to search Google. I don't have the heart to do everything.
With you; here, I want to talk about a small part of this feature film, this is the end of the credits, this is not a complete two minutes. This sequence almost made me think that Schaffner actually planned a lot of mistakes so that they could be used as a reflex with the final credits.
When Papillon jumped from the cliff and floated on the ocean in his temporary raft, a narrator who had been absent so far informed us from the universe that he escaped, spent the rest of his life in freedom, and was more infamous than France. The criminal colony lived longer. I don't know what the advantages of using a narrator as an unsolicited guest like this, and putting information on the screen will be equally intrusive and distracting. Perhaps Shafner feels that it is too difficult to encounter more scenes in the "performance, not speaking" way. Perhaps more scenes will make long movies longer and then less commercially viable. In any case, I believe that whether it is intentional or unintentional, unanimously interrupting the suspension of doubts, will eventually set up images with credit in a new and different way, because watching end credits becomes an important part of the film to understand this.
I often want to know what percentage of the audience actually sets and watches the final credits without ejecting the disc or leaving the theater. It must be very low, because the clear conclusions about the movie are usually already displayed on the screen. No one cares who the lighting engineer or the third assistant is. But here, when we see the image of the abandoned prison - the empty building covered by time and unsupervised vegetation - the power of Papillon's mission, his pursuit of freedom, in our minds It is getting bigger and bigger. How many of us can match his enthusiasm? This number may be less than the number of people we passed the end of the credit.
This is a movie full of action and violence, which will inevitably produce a graphic scene. But Shafner is also concerned about the lower-key, nuanced scene, and the director does not think of queuing. For example, in a scene showing a notorious prison yard, the camera begins on a small lizard sitting on the glowing roof of the building. The scene depicting butterfly hunting pays attention to the fluttering insects that try to avoid mosquito nets. In the scene where the prisoner first arrived on the island, a pig rolled happily in the mud at the bottom left of the screen. and many more.
But the final scene I want to draw attention to here is that there are no people and animals, just show the various parts of the dilapidated prison as the background of the names of everyone involved in making the film, and at the same time let Shafner's music linger. The habitual composer Jerry Goldsmith built a gradual strengthening. Of course, the ultimate impact on us is the reflection of the nature of time. . Time, we were told by these pictures and accompanying music that we destroyed everything. Sometimes the power of humans - in this case the Papillon - can fight it, or stop it, but the end result is always victory. Let's not forget the cross-breeding of movies and meta-movies, which is generally one of the most interesting features of Papillon. .
Orignal From: Postmodern film method: Papillon
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