Those back-lightened lines were just like as sharp razors. Sometimes, you could even feel the coldness of these razors just like they were gilding over your skin.
The film was colorless, but it didnrsquo;t form a bright contrast like the film ldquo;Schindlerrsquo;s Listrdquo; did. Those colorless pictures were just like those abstruse poems wrote by Duras or Resnais, which isolated the audiences outside from the reality. Thus, the violence could be unscrupulous and you could also see limbs and flesh and blood everywhere.
The tone which was suppressed in the film appropriately reflected the loneliness which neither belonged to the present nor belonged to the future. The beast-like strength was always wrapped in this suppressed tone and had no space to break out, so the audiences had to keep on taking the visual opium the director created again and again. They could feel a little high but still not completely satisfied. The silhouette-style termination was not an avoidance of bloody scenes. The director only did this to remove the interference of those pictures to change the cruelness into numbness.
The first story happened in a place called ldquo;Sin Cityrdquo;. Muffle (starring by Mickey Rourke) had ugly look, stubby limbs, and volatile temper, so many people stayed away from him. One day, he met a beautiful girl called Gedi. Unexpectedly, the warm love was initiated between this beauty and this beast. She gave him the warmth and the understanding he never felt before, and he also determined to change himself because of her, so he didnrsquo;t care to lose everything to protect her safety.
However, one night, after Muffle woke up from his peaceful sleep, he found out that the only love he ever had in his life time was already gone, because the girl who was lying on the side of him was murdered by someone, and he also faced a murder charge.
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From Beauty and fashion, post Sin City