When reviewing the gains and losses of the screenwriter of Mei Lanfang, Chen Kaige said that if we don't pay attention to the wonderful connection of the plot, then the film will become something that happened on a certain day. Yes, Feng's "1942" is like this. It doesn't have much dramatic causality, just a simple list of events. However, it is a coincidence of the historical facts of suffering. The audience was shocked by the sensational scene restored by abundant funds. However, many characters in the film don't have much connection, just a * * * tense display. Many clues of characters thought that there was a great foreshadowing, but in fact, they just shot one shot and then disappeared (or cut it). Of course, it can also be said that this is true and artistic temperament, because many people and things in real life just go away. This film is more like a film version based on a documentary novel. When we see some columns similar to "telling", there are often some "scene reappearance". This movie is like an ultra-luxury talk show recalling the past.
Feng Dao once said that his movies are delicious or not. It turns out that he is also the one who has to cater to the true story of the market. Now that we have grown up, it should be more exciting to be able to apply this concept of keeping the audience's appetite to more expensive historical themes-with a strong sense of national history as the cornerstone and a master of the Liu family in charge, whether it is a straightforward description of the merits and demerits, a reappearance of the horror scene of stimulants, a "simple show" without judgment, and a slap in the face, the loss of the "cleaning" of the mother and children, hunger and cold. Although western audiences have seen enough mainstream feature films and just want to find something strange and exciting, in the China film and television circle, which is full of bad films, mainstream feature films are too effective, and the real power is far from strong. It is simply this one, and the audience is too buying it. To paraphrase a line from this movie, because-"Hungry!" Whether in the depths of the soul or on the surface, the audience is hungry for food or full of shit. Therefore, this beautifully packaged "something happened in a certain month and year" is enough to make people feel embarrassed. The female audience sitting around me began to twitch at the sight of human flesh and stones all over the sky, began to cry at the sight of a hole in the little girl's abdomen being blown out, and began to sob at the sight of Xu Fan's hysterical performance "Deng Fang's fucking upper body". Alas, women are always sentimental and kind, although this does not prevent them from looking around at the end because the film is too long. The pain of national slaughter, the collapse of starvation and the tragic loss of loved ones are the most basic singing points, which make people feel the same. Most simple viewers can be scared and shocked by the tragic situation, which is enough for them to call.
This is a dialogue between Okamura Ningji and his subordinates. Okamura Ningji is an army commander who advocates controlling China with China. At that time, the national government failed to distribute food to the victims in time. He decided that the Japanese army would provide food to the hungry people in Henan, thinking that this would effectively divide the cohesion between the people and the government and in turn serve the Japanese army. The man expressed doubt and said, This is impossible, they are from China! Oh, obviously this subordinate is speculating about China people with Japanese thinking. Okamura Ningji shook his head confidently and said, "First of all, they are human." (Later, the rate of millions of traitors ranked first in the world, which also proved this point. He just didn't say that milk is a mother. It is also because of this truth that movies are easy to understand and good-looking enough! Therefore, Feng's "Delicious" can surpass his opponents one by one and become the current popularity and box office leader. Beijing University of Technology once conducted a questionnaire survey, which showed that the students who expressed their willingness to watch Feng's films ranked first, and the selector of a director ranked second was only half of Feng's. Feng Dao is the only one who doesn't have to be a big star. His own name is the director of gold-absorbing films (such as Assembly) with bombing effect. I also heard that the noodle stall owner in a small place praised Feng's films many years ago. Feng Dao's situation is really convincing.
After the Japanese army bombed deserters twice, the crowd didn't have the slightest tendency to share the same enemy. On the contrary, they are still wrestling, and they are all poor. Alas, as a conqueror, it's really hard to pay tribute to the people they conquered when seeing such a scene ... A heated discussion in Weibo about whether this film is too naked will cause sensitivity. In fact, as the above-mentioned people, they are very willing to let people see more such movies. First, scare them and let them know how happy they are now, so that they will be practical and quiet; Second, putting all the bad things on the party wearing the gear badge can not only exert the cruelty of the soldiers and civilians to scare the people now, but also criticize Chiang Kai-shek's corruption; Third, the Japanese army did not show any performance, but was only responsible for showing cruelty and killing and bombing again and again. The Japanese army is indeed cruel, but the problem is not here. The problem is that we will always recite the mantra in the same way, but we will never achieve anything. Our collective character is no different from that of Sister Xianglin. Of course, this is also out of pragmatic needs-Japan is the king of cruelty, and our attention to domestic contradictions has been well diverted ... Fourth, China's affairs have never been the affairs of a political party, with mixed fish and dragons and different national conditions. Moreover, the authority now, because of its attribute, has gradually become the person he knocked down in the past, unconsciously changing his own point of view and empathy. Or what Yuan Shikai said makes sense: crows in the world are generally black, only the difference between being caught and not being caught, and there is no difference between being black and not being black. At that time, Huya Banner was caught while carrying it. Of course, everything was wrong. The black dictatorship defeated the wayward dictatorship.
People who can live are good at life, so there is a word called life. The only China person in the film who doesn't follow this rule, is somewhat pursuing the role of representing fresh blood, and is also stabbed. Combined with many commercial blockbusters made by other directors (for most people), there are similar plots: a beautiful and simple person with backbone will die, and he believes that he will live forever. And they are all commercial blockbusters. So now people should understand better that the people above don't mind more such films at all. I don't know if the audience has noticed this phenomenon-as long as the United States advocates freedom and pluralism, as long as it is a movie (commercial blockbuster is no exception), there must be a more rigid plot than the same-that is, the despicable, obscene and deceptive characters will definitely have no good end, and the bright, active and healthy people will definitely have a good end, regardless of whether this is melodramatic education or not, but at least it is somebody else's values, and movies are regarded as. And we, the more commercial blockbusters, the more we like melodrama and evil, or excuse dark and despicable behavior, or explore the endless interest of power struggle and the truth of politics, Taoism and the law of the jungle, so we look very open. The content of the film is always these, for the simple reason that people only pay attention to themselves, pay the most attention to themselves, and talk about themselves most easily. This can only explain what kind of people make movies in China, what kind of people are encouraged by reality, and what kind of truth is implied by society. In the opening credits, Huayi Brothers changed the domineering explosion of LOGO and the sacred bronze doors of Tianwei Lion Head, which should be their most appropriate value orientation and positioning demands.
Compared with this film, the assembly number with obvious connection, causal concern and positive value tendency is much better as a whole. There is a hard indicator that the assembly number is definitely more suitable for young people than this movie. But this doesn't mean that this film is not good. It's still a good film, and people look dignified as soon as they appear, because all kinds of people in the film have to drag out an ignoble existence, and they would do the same themselves. The aftermath won't last for three days, but it's definitely worth seeing.
(Mr. Li's performance is a bit overdone. Many places that show excitement have been pulled too far and gone too far. I can't say anything wrong. It's like drifting when playing a sharp turn in a mountain racing car. Sometimes you can't hit anywhere, but you just float for a long time and the body shakes for a while. Only you know what's wrong. Alas, Miss Li, an artist with both ability and political integrity, may be the reason why she is old and has been seriously ill! He is full of drama and supports the style of the whole movie! )