Amidst the intense explosions and action scenes, monts of dry humor tily relieve the audience’s nerves, which are likely to snap at any mont. Applause erupts for what seems like the hundredth ti on Devil’s Island as the film finally approaches its climax.
"Hurry up, hurry up!"
From the back, excited voices of fans can be heard. Sarah understands their anxiety; the Air Force’s Hornet is about to fly over Devil’s Island. If Gusby cannot make it out in ti, the island will surely beco a sea of fire.
"Run! You have to run!"
Even the dia seats nearby are filled with voices cheering Gusby on.
At this mont, Gusby is already injured, his consciousness starting to fade. His pregnant fiancée has already arrived in San Francisco, and eighty-one hostages remain trapped in the prison on Devil’s Island. The federal governnt’s airstrike operation has comnced, so he must focus his mind and keep sending the green signal!
"The pace of the film is slowing down," Sarah murmurs.
Here, the film’s tempo clearly eases, the colors on screen deepening to convey a sense of imminent crisis. As fighter jets rush toward Devil’s Island, Gusby struggles to stand and send the signal, capturing the heightened tension of the FBI agents, perfectly portraying the anxiety and urgency felt by everyone regarding the mission’s success.
Who says Duke Rosenberg can only shoot fast-paced action scenes? This shot clearly conveys the complex emotions of all the characters in the film.
This is a feeling that Sarah herself cannot quite explain, but the glamorous visuals produced by Duke Rosenberg, paired with the heavy, slow soundtrack, work harmoniously together.
Especially in the long-distance shot that captures the mont the protagonist sends the green signal—representing hope and an end—just as the screen transitions to the FBI command center. As the command to cancel the attack is issued, the audience’s nervousness begins to dissipate, replaced by hope.
Although there follows a dramatic ’bomb view’ scene, which is a technical highlight of the entire film, all emotional expressions have concluded by this point!
As a national hero, General Hamr brazenly broke the law to secure a pension for his comrades, paying with his life. He could have retired peacefully and lived out his years; Mason disappears into the crowd, gaining the freedom he desires before "his thing loses its function"; Gusby wins the heart of his beautiful wife and uncovers the truth behind the century’s mystery of Kennedy’s assassination.
For General Hamr, Sarah feels a slight regret. Did he and his comrades pay the ultimate price to gain the normal honors due to fallen soldiers?
After a mont’s reflection, Sarah sets aside this regret. The film has already subtly suggested that the federal governnt, which is adept at covering up the truth, is simply unreliable. Since justice cannot be entrusted to General Hamr, it surely cannot be entrusted to the federal president who knows the truth.
They do not compromise with terrorism but excel at shifting bla and indifference.
The film ends, yet Sarah has no desire to attend the premiere press conference. Her main interest lies in the film’s young director. She had interviewed Duke Rosenberg before and could tell he was not fond of dealing with the dia; his words often sounded like pre-approved public relations scripts. A director is essentially a behind-the-scenes role, and he likely wouldn’t ntion anything fresh or interesting during the press conference.
Delegating the interview rights to her caraman, Sarah simply sits there, savoring what she has just seen in *The Rock*.
The film’s excitent is undeniable; Duke Rosenberg’s directorial techniques are increasingly polished, and the performances of the main actors are flawless.
Sarah rembers very clearly that before the character of Gusby, Nicolas Cage often took on unconventional, wild, and fringe roles, rarely appearing in mainstream comrcial films. However, he nailed the nerdy Gusby perfectly, his anxious, darting eyes; his leg restlessly swinging in the cabin; and the forced smile while alone with Mason—all of it showcases his acting skill.
Christopher Lee’s character, whose hype had reached legendary levels, can only be described as a trendous success. His silver hair, weathered face, deep voice, and cool deanor created a sophisticated, composed, wise, and brave old agent figure that jumped off the screen. Especially that indescribable yet palpable fierce aura makes one instinctively recall his real-life experiences, making him the natural choice for John Mason.
Ed Harris’s portrayal of General Hamr is her favorite character. His nearly four-minute monologue at the start was simply impressive, with the dals covering his chest illustrating his achievents. His heartfelt soliloquy about his late wife shows deep affection; there is no more perfect image of a soldier than him...
Additionally, the two monologues in the film highlight his strong command of lines and acting skills. Mason’s line, "He is a soldier, not a murderer," and the president’s line, "We overlooked great soldiers like Hamr," define this character—he is a patriot!
Sarah even believes Ed Harris is fully qualified for an Oscar nomination for Best Supporting Actor; unfortunately, the film’s subject matter and genre might not help him.
Not just the three main actors, even the actress portraying Gusby’s fiancée shone brightly. Perhaps due to the character’s setup, she had little room to showcase her acting, but her beautiful screen presence was impressive, particularly her soft charm that inspired a protective instinct, emphasizing Gusby’s need to take risks!
Though not an expert, Sarah, as soone in the industry, has a solid basic judgnt of acting. The main actors in *The Rock* truly stand out.
Considering Uma Thurman and Keanu Reeves, who rose to fa thanks to *Speed*, Duke Rosenberg clearly has a unique talent for casting and coordinating actors’ performances on set.
Just think about it: Duke Rosenberg, who manages all the human and material resources for *The Rock*, is only twenty-three years old. This is rely his second feature film, the first A-list production, but his skills put many directors in their forties and fifties to sha.
However, this young director, highly praised by female reporters, after answering a few scripted questions, handed the press conference over to the actors who could attract more dia and public attention, retreating to a backstage area where the dia was prohibited.
This is a necessity of the film’s promotional strategy; in this era, no film’s marketing centers around the director. Even *Jurassic Park*, which premieres in June, did not focus its promotional efforts on Spielberg.
"Sophia..."
After searching for a while and not finding his mother, Duke walked directly over to Sofia Coppola and asked, "Where’s my mom?"
"Aunt Leah just got a call," Sofia pointed to a nearby chair. After Duke sat down, she spoke leisurely, "It seems like it was from a lingerie company; she has to rush to New York."
Upon hearing this, Duke imdiately thought of Victoria’s Secret, which is the Santa Fia company’s largest business. It must be an urgent matter. After taking out his phone, he called his mother and briefly discussed things, finding that his guess was mostly correct.
"Hi, Duke."
A woman in a short, low-cut evening dress with brown hair approached him. "Long ti no see."
"Shania..." Duke stood up and gently shook her hand. "You’re here for the premiere too? How co I didn’t see you?"
"I arrived a little late." Shania brushed her hair, which had been tousled by the sea breeze. Just as she was about to say sothing, her manager approached to remind her, "Shania, we need to head back to San Francisco."
"Right away."
Waving goodbye, Shania leaned closer to Duke’s ear and whispered, "I’m in Suite 1706 at the Fremont Hotel on Mason Street."
"I like that room." Duke lightly blew away a few strands of hair from her forehead.
After sharing a smile with Sofia Coppola, Shania walked away, leaving Duke with a sultry view of her back.
"Looks like it’s not your first ti, is it?" A monotonous voice sounded in his ear. Sofia crossed her arms, gazing at Duke and teasingly remarked, "It seems you won’t be lacking in won in the future."
"Can’t help it..." Duke shrugged and switched to a cheeky tone, "Who says I’m not the most charming director in Hollywood?"
Sofia rolled her eyes, almost pretending to gag.
Only with familiar friends like Sofia would Duke make such jokes; he is not a rigid person, nor is he filled with a sense of humor.
The stars twinkle above San Francisco Bay, and ferries shuttle between Devil’s Island and the San Francisco docks. After experiencing the clamor and the explosive screen visuals, the small island regains its tranquility.
As night falls, after disembarking, Duke exchanges a few words with Sofia and heads straight to his appointnt at the Fremont Hotel. On this night, many others are also in a hurry; in southern Los Angeles, the premiere at the Sacred Cathedral has concluded, and Tom Cruise and other main actors confidently leave, surrounded by dia reporters.
The main creators of the two productions can take a break, but the relevant staff must continue working. Soon, the midnight screening will begin. Investigators across the United States must rush to major cinemas to gather feedback from midnight audiences so the distribution company can make tily adjustnts.
The midnight show is exclusive to die-hard fans. Fans of Tom Cruise and Brad Pitt are already poised, waiting for the mont the film is released.
Compared to the inherent advantages of the cast in *Interview with the Vampire*, the midnight show for *The Rock* appears sowhat disadvantaged. In this era, directors hardly have fans; the combined box Nicolas and Lee is probably not good as Tom cruis
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