Chapter 253: Who is the Crazy Maniac

The butt determines thinking, and in the same way, the higher you stand, the farther you see. Pen Fun Pavilion wWw. ｂiquge。 ｉｎfo

Feng Xiaogang and Zhang Yiyan stand at the peak of Dragon Country films, one is a down-to-earth grassroots director who makes the people willing to pay out of their pockets, and the other is a big director who is also from a simple background, but represents Dragon Kingdom films to shine internationally and win glory for the country.

They have reached the top, so they can see the future, but they are powerless.

The 21st century is an important turning point for the entire international trend and social changes, so as the people on the top of the mountain, they need to show the way for future generations to be not too rough.

No matter which path you take, you will eventually lead to the point, and even if you go wrong, you must firmly believe that the world is round.

Under the influence of the market economy becoming more and more biased towards the Western capital model, they are powerless to do anything about it, and there is no longer a guiding role for them to stand on the mountain to guide the way, because they know that it is capital that will guide the entire film industry in the future.

So they have to go down the mountain, with the descendants to the mountain, the road up the mountain is bumpy, but the descent is not smooth sailing, going down the mountain, it is more difficult than going up, because if they are not careful, they will be doomed, because they have been looked up to by too many people, and if they come down, they will disappoint the lookers.

This is a harsh choice, so Feng Xiaogang expressed a lot of anger in this movie, from venting all kinds of powerlessness to capital, public opinion, pseudo-cultural gimmicks, unspoken rules, and clear rules.

This is a comedy movie that belongs to Feng Xiaogang's own style, and it may also be the last Feng's comedy, because he has to go down the next road, so he simply said everything at once, using absurd comedy as a cloak to compile a tragic and powerless future.

The role of Uncle Ge is the future him, and it is difficult to be alone in all the choices, even if he can use every inch of the corpse to advertise to cater to everyone, he is still 'driven crazy' by reality.

The part of the madhouse in the end, which seems to have nothing to do with the plot, is actually the finishing touch of the whole plot, the world outside the madhouse is a normal world, Uncle Ge walked into the madhouse from the outside, walked out again, and changed the world with those who talked crazy things together.

I don't know if Uncle Ge is assimilated, or can he be alone?

Those people are really crazy, and Uncle Ge, who has been with these crazy people for so long, has he also become crazy?

All this is a question mark left by Feng Xiaogang for himself.

So at the end of the main play, there is an easter egg after the cast list has passed, and in the camera is Wang Yao, who is still wearing a white sheet, which seems normal but feels a little crazy.

Uncle Ge and the female assistant returned to the madhouse, and at this time all the 'madmen' left the madhouse, and only Wang Yao, the biggest madman, remained there.

"They're all gone, you go too, you're not crazy. Uncle Ge was wearing a crisp suit, holding a cigar and looking bright, and said to Wang Yao with a beautiful female assistant.

Wang Yao glanced up at him and smiled, "It seems that you have been doing well since you went out." ”

"Of course, the outside world is colorful. Uncle Ge smiled and said, "Let's go, let's go out together." ”

Wang Yao raised his eyebrows slightly, a subtle smile appeared on the corner of his mouth, and the angle of the camera showed that his facial features were becoming more and more exquisite, "The people outside are crazy?"

The smile on Uncle Ge's face stiffened for a moment, and finally said perfunctorily and meaningfully, "In this world, how can you tell who is crazy?"

Wang Yao smiled and shook his head, turned his back, and looked at a painting on the wall.

The camera shoots the huge and magnificent mural through Wang Yao's eyes, and then slowly closes it, returning to darkness, leaving a monologue.

"You can never wake up someone who is pretending to be crazy, but you can make yourself really crazy, and no one cares if you're really crazy anyway. ”

This scene was added at the request of Feng Xiaogang, because this scene makes this popular comedy enough to rise to the realm of literary films.

The huge and magnificent fresco in the lens is Raphael Sansi's "School of Athens" by the three great masters of the Renaissance.

This painting is the result of Raphael Sanci's bringing together famous philosophers and thinkers from Greece, Rome, Sparta and Italy to construct the spiritual temple of the human elite, which represents yearning and represents the true future.

In the middle are Aristotle and Plato, one pointing to heaven and the other pointing ahead, representing the highest philosophical theories of the two, centered on them, all kinds of great celebrity scholars throughout the West.

There was the king of Greece, Alexander, Socrates, the last nobleman of Athens, Alcibiades, the famous philosopher Zeno, the founder of ancient Persianism, Zorothus.

This painting contains the whole great figure who led the Western humanities and spirituality to the outside.

It represents human reason, self-consciousness and the pursuit and reverence for truth and will.

However, this painting appeared in Wang Yao's eyes, appeared in this madhouse, and combined with what Wang Yao said, it was even more intriguing.

This irony is the greatest mockery of the hypocrisy of the future represented by the bombasy 'madmen' in the madhouse.

Wang Yao was in the same madhouse with them, although they were isolated, but all of them were crazy, including Uncle Ge who pretended to be crazy, but after these madmen went out, were they not crazy?

And Wang Yao, who was left alone in the madhouse, was he really crazy or fake crazy?

Feng Xiaogang used the language of the camera to throw this question to the audience who could understand it.

But through this kind of allegory, it tells the future people that you seem to have wisdom and thoughts, but under the black hole of capitalism, do you really have your own thoughts?

What you see, what you feel, what you touch. Is it really a normal world?

Or are there some people who only let you see this?

Western capitalism uses the future society as a bait that exaggerates and magnifies the desires and greed in human nature, so that the future people fall into material desires and cannot extricate themselves, enslave the future people, become slaves of fame and fortune, become 'successful people' in the eyes of those crazy people, and live in their exploitation.

Because this group of madmen has instilled and imposed the values and worldview they want you to develop on the future since childhood, so that you lose the right to truly judge values and the world, and follow the so-called mainstream.

And in such an era when mainstream values are controlled by madmen, being alone is an idiot's dream, becoming an ethereal illusion, this question, Uncle Ge, who went out, returned to the orphanage and asked Wang Yao.

Wang Yao's muttering may be a proverb.

But Wang Yao's choice was to close his eyes and make himself a real madman, along with his yearning, and the white sheets he wore on his body made people silent.

This is the wheel of the times, and no one can resist it, but there will always be people who will choose another way, think it is the right path, and wait for the day when the madhouse will reopen.

The music at the end is a piece of "Erquan Reflecting the Moon" played by Erhu and Xun, which is very appropriate.

Including the end of the film, the camera gives a shot of a young emperor sitting in the Forbidden City looking down at the world, and then taking a sip of Coca-Cola in his hand, hugging back and forth, watching the city gate slowly close.

This shot appears twice in the film and is the real central idea of the film.

The Young Emperor represents imperial power and the future, and Coca-Cola represents Western culture, which could not be more obvious.

Its connotation lies in the concern about the status of Han culture that belongs to China, and the invasion of Western culture has turned the whole world into their 'cultural colony', so that the banner of the 'American imperialist dream' has been planted all over Gaia.

In this overwhelming globalization of the 'mainstream cultural trend', can Han culture stand in the East and on Mount Everest, the backbone of the world, as it has done for thousands of years?

The Western-style 'open food culture' has accelerated the operation of the whole planet, taking all countries with it, and the cultural invasion assisted by capital is even more unstoppable, and the values of hegemony and utilitarianism and pragmatism are always at the root of the invader Han culture through cultural symbols such as Coca-Cola.

If you don't wake up, one day, Chinese people will lose the excellent genes in Chinese culture and become vassals of Western culture.

Let me ask, what is in the West can represent the advanced, and what is in China is feudal and backward?

But the essence of everything is that there are two sides, and there are only two options, one is good and the other is evil.

The problem, in the end, still arises, too many people's cognition is guided by others, they do not have the ability to judge right and wrong, they can't think, they don't reflect, they will only follow the clouds.

By that time, Huaxia, which has become a rootless duckweed, may have existed in name only.