Watching The Raid: Redemption and The Raid 2: punk reminds me of the old story about a German police officer who visited Picasso in his residence. Surprised to see the "chaos" in the paintings of Picasso, the policeman asked, "Did you do this?" Picasso replied quietly, "Not. You did this. "This old story pictured three years ago when in a cinema when I as an attack-tohok and punched by every fist-punch-kick in the Redemption. Feels close issues shown: illegal group, as a metaphor hierarchy flats, and police struggle layman who was so blind to the system, have to face everything with muscle.
I think a long time. What is actually being done by director Gareth Evans? Demonstrate whether he is called Margaret Brother as "aestheticized violence"? Maybe it does. Shift of focus in the martial arts film Merantau, on Redemption Evans takes us on a bloody maze to solve system problems also ingrained in the republic, and the main character, none other than the person who is trapped in the system problem . Borrowing the analogy back story of Picasso, Redemption is not important because Evans (or anyone, no matter muasalnya) who do it, but because I can identify myself in the film as a citizen. The problem that is being addressed by Rama is a problem residents.
This identification has nothing to do with the fun to watch violence , or violence case at the art - as - it Brother . Apparently the answer is more than that. In Redemption , violence is the only way to negotiate with the regime . So I would rather see the action choreography in Redemption as a depiction of the impossibility to negotiate with the regime using the tongue . Fist - punch in the Redemption become important to me not because technically amazing , but because his portrait mode for the violence as the only possible medium negotiations between actors and systems are weak people who master the system ( remember the CCTV in the room Tama Riyadi , a tool of control over the construction of the hierarchy ) . Rama is probably the part of the police , repressive state apparatus , but violence in the mise - en - scene is not his will . So violence just like magic Redemption . Two magical things that can be done one resident hopes to change the systemic situation
Top of sweet memories with Redemption, glowing I came to the cinema to watch punk. The story of Rama (Iko Uwais) must work together once again with his superiors. Strong reason, the name of Rama has begun terendus by the power poles mafia in Jakarta. If you do not work together, him and his family could have become a victim. Using his superior scenarios, Rama sent to prison for approaching Uco (Arifin Putra) which then held it with a corrupt minister named Build (Tio Pakusadewo). On the other hand, also involved a mafia named Bejo (Alex Abbad) who allegedly killed Andi (Dony Alam), brother of Rama.
The first time was from punk was the motive. When Redemption focuses on the system as a basic motif, then shifted to the personal punk (agents) as the foundation of a motive. In one scene, we see Rama with lust punched a picture on the wall of the prison. Dihajarnya picture until a few chunks of cement falling peeling. There is a craze in him about the violence so that the two motives (protecting children and avenge his wife's brother) who is also a personal nature be less powerful than this.
Of cases the motive is shifted into this personal space, the punk scene scuffled be grounded. Take the first two fight scenes: Rama who show off in prison against the prisoners and wallow mud fight scene against the officers. The first scene is preceded by Rama, as awareness gather to process latent desires and cravings over the fight, sat staring at the door banging on his opponent. Nothing is systemic from the scene. Everything is just to show the other prisoners that Rama was a champion, to show off to the audience that Rama is indeed a hero. Neither more nor less.
The second scene a greater impact, in this scene we are faced with a charming display of camera work. Cameras follow ups and downs as the people rise up and collapsed. Several times the angle taken from above (bird eye) to show the grandeur of the scene. Long take some time taken to show the film choreography discipline. But what is the reason? Turns lighters everything just because an inmate approached Rama to square off want to hit him, just continued conflict of the first fight. When the first scene is the scene of a personal showroom for Rama, the second scene is a showcase for the entire collective punk filmmaker that technically they've been able to make such a magnificent scene. This is the first gate for spectators to see the impact of capital flows on large-scale projects worldwide punk after Redemption.
I think a long time. What is actually being done by director Gareth Evans? Demonstrate whether he is called Margaret Brother as "aestheticized violence"? Maybe it does. Shift of focus in the martial arts film Merantau, on Redemption Evans takes us on a bloody maze to solve system problems also ingrained in the republic, and the main character, none other than the person who is trapped in the system problem . Borrowing the analogy back story of Picasso, Redemption is not important because Evans (or anyone, no matter muasalnya) who do it, but because I can identify myself in the film as a citizen. The problem that is being addressed by Rama is a problem residents.
This identification has nothing to do with the fun to watch violence , or violence case at the art - as - it Brother . Apparently the answer is more than that. In Redemption , violence is the only way to negotiate with the regime . So I would rather see the action choreography in Redemption as a depiction of the impossibility to negotiate with the regime using the tongue . Fist - punch in the Redemption become important to me not because technically amazing , but because his portrait mode for the violence as the only possible medium negotiations between actors and systems are weak people who master the system ( remember the CCTV in the room Tama Riyadi , a tool of control over the construction of the hierarchy ) . Rama is probably the part of the police , repressive state apparatus , but violence in the mise - en - scene is not his will . So violence just like magic Redemption . Two magical things that can be done one resident hopes to change the systemic situation
Top of sweet memories with Redemption, glowing I came to the cinema to watch punk. The story of Rama (Iko Uwais) must work together once again with his superiors. Strong reason, the name of Rama has begun terendus by the power poles mafia in Jakarta. If you do not work together, him and his family could have become a victim. Using his superior scenarios, Rama sent to prison for approaching Uco (Arifin Putra) which then held it with a corrupt minister named Build (Tio Pakusadewo). On the other hand, also involved a mafia named Bejo (Alex Abbad) who allegedly killed Andi (Dony Alam), brother of Rama.
The first time was from punk was the motive. When Redemption focuses on the system as a basic motif, then shifted to the personal punk (agents) as the foundation of a motive. In one scene, we see Rama with lust punched a picture on the wall of the prison. Dihajarnya picture until a few chunks of cement falling peeling. There is a craze in him about the violence so that the two motives (protecting children and avenge his wife's brother) who is also a personal nature be less powerful than this.
Of cases the motive is shifted into this personal space, the punk scene scuffled be grounded. Take the first two fight scenes: Rama who show off in prison against the prisoners and wallow mud fight scene against the officers. The first scene is preceded by Rama, as awareness gather to process latent desires and cravings over the fight, sat staring at the door banging on his opponent. Nothing is systemic from the scene. Everything is just to show the other prisoners that Rama was a champion, to show off to the audience that Rama is indeed a hero. Neither more nor less.
The second scene a greater impact, in this scene we are faced with a charming display of camera work. Cameras follow ups and downs as the people rise up and collapsed. Several times the angle taken from above (bird eye) to show the grandeur of the scene. Long take some time taken to show the film choreography discipline. But what is the reason? Turns lighters everything just because an inmate approached Rama to square off want to hit him, just continued conflict of the first fight. When the first scene is the scene of a personal showroom for Rama, the second scene is a showcase for the entire collective punk filmmaker that technically they've been able to make such a magnificent scene. This is the first gate for spectators to see the impact of capital flows on large-scale projects worldwide punk after Redemption.