The artistic narration in the movie “Guilt is Americanised” .. The sound dominates the image

Moroccan critic Mohamed Benaziz, in his article, dealt with clips from “the guilty movie” by American director Antoine Fuqua, and began by describing “a policeman in a corner, in a closed space, communicating from his inner world with the outside world; A policeman under pressure works in isolation, as the hero presents in very close-up shots that violate the intimacy of the character communicating on the phone.”

Benaziz pointed out, in his article entitled “The Film of Guilt Is Americad.. The Precedence of Sound over Picture,” that “the film takes place in eight hours, which makes the tension very high. We do not see who is speaking or what is useful. The tragedy outside the cadre, is transmitted to us by sound and not by image.” He added, “The film is an American remake of a Danish film of the same name, released in 2018, directed by Gustav Muller.”

After Muhammad Benaziz spoke about a group of film clips, he said: “I read in many places that sound poisons the image in the cinema, and this was an illusion when I discovered what Robert Prosson said about sound and image in his book Notes sur le cinématographe, where he said that sound can compensate for sound. conveying information, and its impact may be doubled.”

This is the text of the article:

A cop in a corner, in a closed space, communicating from his inner world with the outside world, a policeman under pressure working in isolation. Presented in very close-up shots that violate the intimacy of the character communicating on the phone, the film runs in eight hours; Which makes the tension so intense, we don’t see who is talking or what works, the tragedy outside the cadre, is transmitted to us by sound and not by image. Intense sound. In the movie The Guilty 2021, directed by American Antoine Fuqua.

The film is an American remake of the Danish film of the same name, released in 2018, directed by Gustav Muller. A film that achieved critical success and at festivals, the Netflix platform decided that it deserved to be remake, a remake of a globalized remake.

How?

The events were moved to take place in Los Angeles, which is the center of the universe for Hollywood, changing the location of the events from sidelines to center. To deepen the drama of place in time, the events take place during the California wildfires, fires to increase the level of drama, the fires were filmed at the time and were incorporated into the films, in this context all under the pressure of smoke and time… The sound tape in the first edition of the film is simple, poor, while the sound tape in The new edition is amazing, and it’s doubtful that even a small company can provide it. It is doubtful that you have the resources and means to manipulate the five senses of human beings in the time of the technological revolution.

This movie is a global remake of a local version and has a greater technical and commercial touch… Every movie that Netflix rewrites and reissues makes the new edition more famous than the original, thus the aforementioned platform reshapes global art from its perspective, patterns in societies and arts, and the differences disappear. This is what happened in the last seasons of the “La Casa de Papel” series. Big funding has its effect on art, here money makes its voice heard, this is purified in the movie “The Comet”, in the quality of photography and the richness of sound to capture the spectators.

When the pressure on the comet suffocates, breathing is a metaphor for the film, “It’s dark and I can’t breathe” is the movie’s lite-motiv, and the rationale is my location: the California fires.

The officer’s story is intertwined with the story of his callers, he gets too close to those who complain because he is a man who attracts misfortunes and his friend like him, does not abide by the law… His verbal violence reveals the way he deals with his family… The unfortunate save the unfortunate… Birds of a feather fall… The police are supposed to be normal and manage dysfunctional situations, But the surprise is when the policeman himself suffers from a disorder…
An officer who puts the complexities of his personal life on his work…, works a night shift, nervous shows his anger and aggressiveness, pursues a criminal case, his fate is linked to a drunken court witness, a lying witness who claims to be in the work office while he is with a woman who is gasping and is supposed to infer from the voice that this witness He will destroy his future… This information reaches the spectator by ear…

The film has many voids that incite the spectator to run his imagination to complete the missing image.

The film is a sample of the predominance of sound over image in the film narrative

When there is no event, the scenario increases the dialogue. How does dialogue reinforce the meaning of images? How does personality reveal? How does dialogue, commentary, or audio illuminate the scene that is taking place?
A short dialogue that has been worked on for a long time… The actors made a great effort to make their voices express what is not seen in a movie that resembles a radio play raised to a high level by the sound montage… A voice that is easy to camouflage for hearing because the eye was not seen, and when the truth was revealed, the policeman vomited the lies that his ear had received… And he asked Whoever watched it presented the truth… Thus, the second half destroys the first half step by step.

The director put audio and video in a race to uncover information. Thus the director deleted the image, placing the burden on the audio to explain the story. There is one image and dozens of information that is revealed about the individual thanks to his phone, car number, history file and location thanks to Google.

The only weapon of rescue was the phone, the policeman called three members of the same family… The spectator imagines the character from her voice… The voice of a character changes tones, who speaks, remembers, cries… The policeman manages a state of madness from a distance, by voice… While the flow of information, feelings and whining continues, thanks to This visualizes and visualizes the on-screen spectator.

I read in many places that sound poisons the image in the cinema. It was an illusion when I discovered what Robert Brusson said about sound and image in his Notes sur le cinématographe. He said that the sound can compensate for the sound in transmitting information, and it may double its effect.

In the American version of the film, the voice communicates strongly with the recipient and provides him with enough information and sensations to make sense of what is going on, and even to imagine possible sequels.