[et_pb_section fb_built=”1″ _builder_version=”3.11.1″ custom_margin=”0px|||” custom_padding=”0px|||”][et_pb_row _builder_version=”3.11.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”0px|||”][et_pb_column type=”4_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/mckeestory.com\/images\/2018\/eblasts\/aug-14-2018\/the-third-murder-2.jpg” _builder_version=”3.11.1″][\/et_pb_image][et_pb_text _builder_version=”3.11.1″ header_3_font_size=”18px” header_3_line_height=”2em” header_4_font_size=”17px” header_4_line_height=”2em” text_orientation=”center” header_font=”||||||||” header_text_align=”center” header_3_font=”|700|||||||” header_3_text_align=”center” header_4_font=”|700|||||||” header_4_text_align=”center” text_font=”||||||||”]<\/p>\n
THE THIRD MURDER<\/span> It Works!<\/span> (Spoiler Alert)<\/span><\/span><\/p>\n <\/span><\/span><\/p>\n [\/et_pb_text][et_pb_blurb title=”1. Classic Structure to Deepen Subtext and Meaning:” use_icon=”on” font_icon=”%%202%%” icon_color=”#7cda24″ icon_placement=”left” _builder_version=”3.11.1″ header_font=”|700|||||||” header_font_size=”16px”]<\/p>\n This courtroom drama delivers a fine reworking of the Open Mystery. We know who committed the murder but not why. The storytelling builds curiosity by making us guess between at least six different whys and the possibility of innocence.<\/p>\n The deeper, philosophical question, however, is this: Can we ever know the truth behind any human action, let alone murder?<\/p>\n Justice systems are not concerned with the truth but with determining if a law has been broken, and if so, by whom. Truth, the whys of things, is at best a subjective guess, a side effect of investigation and trial.<\/p>\n The third murder in THE THIRD MURDER is the one society commits when it executes a criminal. So, a defense attorney-come-detective tries to find a less condemning reason why his client committed murder in order to save him from the gallows (Japan\u2019s preferred method of capital punishment).<\/p>\n <\/p>\n [\/et_pb_blurb][et_pb_blurb title=”2. Distinctive Cinematic Style of Symmetry, Balance and Restraint:” use_icon=”on” font_icon=”%%202%%” icon_color=”#7cda24″ icon_placement=”left” _builder_version=”3.11.1″ header_font=”|700|||||||” header_font_size=”16px”]<\/p>\n In the grand tradition of Japanese cinema, writer\/director Hirokazu Kore-eda favors evenly lit interiors. No deep shadows on the characters\u2019 faces, no high or low angles, no rapid edits, no fast moving cameras. Even when the protagonist bludgeons his victim to death, Mr. Kore-eda shoots the scene at a distance and frames it symmetrically.<\/p>\n This intentionally cool, distinctly anti-Western aesthetic defuses the audience\u2019s emotions but engages their minds. When the director wants a cinematic climax, he shoots the agonized face in a tight profile, forcing the audience to picture the full-faced expression.<\/p>\n <\/p>\n [\/et_pb_blurb][et_pb_blurb title=”3. Dialogue-driven Film:” use_icon=”on” font_icon=”%%202%%” icon_color=”#7cda24″ icon_placement=”left” _builder_version=”3.11.1″ header_font=”|700|||||||” header_font_size=”16px”]Generally, the balance of image to sound in the finest films is 80% visual and 20% auditory. But like MY DINNER WITH ANDRE, this film could have been staged as a play. It\u2019s virtually wall-to-wall dialogue. This courtroom drama delivers a fine reworking of the Open Mystery. We know who committed the murder but not why. The storytelling builds curiosity by making us guess between at least six different whys and the possibility of innocence.<\/p>\n","protected":false},"author":1,"featured_media":11593,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-11584","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-works-doesnt-work","post_format-post-format-video"],"aioseo_notices":[],"jetpack_featured_media_url":"https:\/\/mckeestory.com\/wp-content\/uploads\/2018\/08\/The-Third-Murder-1.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/posts\/11584","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/comments?post=11584"}],"version-history":[{"count":3,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/posts\/11584\/revisions"}],"predecessor-version":[{"id":11594,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/posts\/11584\/revisions\/11594"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/media\/11593"}],"wp:attachment":[{"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/media?parent=11584"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/categories?post=11584"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mckeestory.com\/wp-json\/wp\/v2\/tags?post=11584"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Written and directed by Hirokazu Kore-eda<\/em><\/span><\/p>\n
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