The Promise is the hottest movie in China in 2005, and it has been repeatedly mentioned. An old story about the Promise is the damage it caused to the local environment when it was filmed in Shangri-La, Yunnan. It is said that the shooting scene of that year has now become a garbage dump; Second, the overseas copyright sales of Zhang Yimou's new film "Golden Flower in the City" and Xiaogang Feng's new film "The Banquet" were not as smooth as expected. Investors in both films claimed that American filmmakers returned their promises last year, which "caused overseas filmmakers to slow down and be more cautious about buying China films". Some media even claimed that "Big Book" hurt China movies.
According to this logic, it is Ang Lee's Crouching Tiger, Hidden Dragon that makes China movies miserable. Some people say that China movies entered the post-Crouching Tiger, Hidden Dragon era a few years ago, because after Crouching Tiger, Hidden Dragon won the Oscar and the US box office broke through 1 billion dollars, some actors of Crouching Tiger, Hidden Dragon were invited to shoot similar movies when Hong Kong was hot, and Zhang Yimou, the great director of China, even introduced Heroes and House of Flying Daggers one after another in the mode of Crouching Tiger, Hidden Dragon. Relying on the movie Lies, China costume action blockbusters once had a big market overseas. The box office of Hero in North America also exceeded 1 100 million dollars, and the distribution rights in North America and Europe are said to have sold for 2 1 100,000 dollars. However, Milla Max, which bought the overseas copyright of Hero for 2,654,380+million dollars last year, gave the black-bone chicken a refund after paying the deposit. This is not a simple return, it is a sign that American film companies begin to distrust China's costume action movies. Zhang Yimou's new film "Golden Flower in the City" and Xiaogang Feng's "Banquet" also need to play the card of China costume action blockbuster. If you want to win the trust of overseas filmmakers and sell them at a good price, you naturally need to stand up and draw a clear line with Wuji and explain the difference between your films and Wuji. When the audience and the media just stopped attacking The Promise, like-minded people came out to continue another profound review of The Promise and China's films. The Promise has thus become the scapegoat for China's films. Last year, he was praised as the pride of China films by China Film Corporation, and was nominated for the Golden Globe Award and the Oscar for "The Promise" on behalf of China, which once again became the chief culprit of China films.
But did The Promise really hurt China movies? If the answer is yes, then the definition of China movies is-China costume action blockbusters with special effects packaging. Because it is the overseas sales of these films that are influenced by The Promise. This just proves that many people now subconsciously regard this kind of movies as the international representatives of China movies, and shape this kind of blockbusters into the image project of China movies. There are one or two blockbusters every year, and the annual report card of China movies will look much better. Driven by the interests of local box office, overseas copyright and box office, and driven by the interests of China's film image project, China's films, which are already miserable, are even worse. Every year, similar costume action blockbusters come out to support the film market in China and decorate the facade of China films. However, local audiences will get bored one day, overseas filmmakers will lose their freshness one day, and creators will miss it one day. The promise is just in time for this day. It is our own effort to narrow the scope of China's films to only one genre. All we can sell to foreigners are fake and empty costume action movies, and a failure will affect the whole China film. This is the sadness of China's films.
In a country with a population of more than one billion, only a dozen local movies can be shown in cinemas every year, and only one or two movies, such as Heroes and Promise, represent the overall image of China movies, which is itself morbid. The causes of this disease are too many to be summarized in one sentence. The cinema only focuses on the scheduling of blockbusters, investors only pay attention to the investment of blockbusters, and the media only leave room for blockbusters. There are too many creative constraints, and the competent authorities take a ruler and scissors to do physical examination and surgery on the approved scripts. These are the driving genes for the single film genre in China. The appearance of "The Promise" itself is the disease of China's films, not that it harms China's films. It only affects the international sales of similar films and hinders the financial path of such film investors. If the representative of China's film is not only a costume action blockbuster, its evil will not be magnified to harm the whole China film. Commitment is a scapegoat, but it is not an innocent scapegoat in the scapegoat story. "Commitment" has always existed, but it is not the root cause. Looking at it from another angle, its evil even inspired China's films: the creative environment is not improved and the genre is single, and this road is blocked!