Is Feng Xiaogang's path crooked, Song Zheng has no way to get out of the evaluation, the road was chosen by Feng Xiaogang himself, he is such a big person, how to go, doesn't he have a score in his heart?

"If you think you're going crooked, don't you just go around and take the straight!?"

Feng Xiaogang smiled, it looked much easier than just now, he could understand what Song Zheng meant by taking the straight road, but he had been reluctant to walk on that road before, or simply said that after walking for more than ten years, he was a little bored, and he always wanted to take a different path, but he didn't pay attention and broke his foot twice, and now he was reminded by Song Zheng, Feng Xiaogang suddenly felt that there was nothing wrong with taking the old road.

This straight road that Song Zheng said, what is the old path Feng Xiaogang thinks in his heart?

Naturally, it's a Feng comedy!

Comedy in China's film and television industry is not developed, as a unique film genre, due to various reasons, it has not been able to get enough room for growth, for a long time, it was Hong Kong-style comedy that was popular in the mainland, and the birth of Fung's comedy was straight.

Different from the earliest satirical comedies in China, burlesque comedies, and Xiangjiang's, pee, fart, and nonsense, Feng's comedy should belong to warm comedy.

Many people say that Feng Xiaogang has a unique feeling, both sensual and an ordinary person who laughs and scolds, and has a heart of good and evil hatred.

Since the release of "Party A and Party B" in 1996, it has created a precedent for the Chinese New Year file in Chinese mainland, making watching movies on the first day of the New Year a habit for ordinary people.

Following the success of "Party A and Party B", Feng Xiaogang made persistent efforts to launch "Not Seen, Not Scattered" in 1999, "Not Seen, Not Scattered", as Feng Xiaogang's masterpiece, can especially reflect Feng's unique style: two or three ordinary people, not salty and indifferent jokes, a bit of interesting plot.

Feng Xiaogang is very "stingy", small theme, small production. But Feng Xiaogang played with this "little". Small themes contain big meanings, and ordinary and plain contain true philosophy.

After that, Feng Xiaogang continued to release Feng's comedy works during the end of the year and the beginning of the year for many years, each of which can be called a classic, and these works have the same idea, that is: to focus on excavating and celebrating the kindness and simplicity of the little people in life, so they can always touch the hearts of the audience.

These comedies with unique Feng humor and ridicule tell the story of small people, Feng Xiaogang is different from the nonsensical comedy of Hong Kong comedy genius Zhou Xingchi, he is a director rooted in Chinese mainland, born in an ordinary citizen family in Yanjing City, he likes literature and art since childhood, entered the Beijing Art Troupe at the age of 20, and then came to the TV station as an artist, his life gave him creativity, so many times he participated in the writing of the script.

Most of the characters in his early comedy films were ordinary citizens with no fixed jobs, Yao Yuan in "Party A and Party B", Liu Yuan in "See You or Leave", You You in "Big Names" and Han Dong in "Endless".

Yao Yuan, an employee of a good dream day trip company that helps others realize their dreams, said that the employees are already very formal, but they are actually members of the group of four. Liu Yuan is an immigrant Chinese living in the United States, and You You is a completely laid-off worker who identifies himself at the beginning of the film. Han Dong is a driver who runs transportation.

It can be said that these are not upper-class characters, but it is the sense of dissociation in the reality and absurdity of these characters that attracts the audience, after all, the current life is the closest to us.

The reason why Chinese like these little people is not only their comedy and witticism, but also because they have civilian nature, Feng Xiaogang's original movie started with a small cost to get a big box office, and the actor is also looking for Uncle Ge, a male protagonist temperament who is not defined by ordinary people, although he has lost the bottom in appearance, but he is not talented, and he has the pride of the hero dream of a small person, that is, he is righteous.

At the beginning of the film, these little characters usually appear in a contemptuous posture at the beginning of the film, but their later behavior can be summed up by the fact that I am ugly, but I am very gentle.

What Feng Xiaogang wants to convey is never the exemplary model of talents and beauties in ordinary movies, conveying that as long as a person is sincere, he can find his own happiness.

In addition, Feng Xiaogang's Chinese New Year series of movies also inherited Wang Shuozhong's game irony and other characteristics, and then expanded the "game" to Chinese New Year films.

He pushed the ridicule of life, the abuse of life and the ridicule of mainstream culture to the extreme. In terms of plot and language, the language of gamification runs through the creation of several of his Chinese New Year films, constructing a fairy tale of adult games in a relaxed and humorous atmosphere.

For example, at the plot level, "Party A" is a role-playing game, "See You or Leave" is a chase game, "Endless" is a game about intelligence, and "Mobile Phone" is a story about lies.

Although it seems absurd, it is not frivolous, and it is not difficult to find that the themes of Feng Xiaogang's works are actually heavy and profound, whether it is the reflection on human nature and the care for the humble dignity of people in "Party A and Party B", "See You or Leave", or "Big Names", "Mobile Phone" is very vigilant against the current media violence.

Under the packaging of the comedy form of Chinese New Year films, Feng Xiaogang's pursuit of the description of the current living conditions of urban people is precisely the reason why Feng's comedy is not pure funny and boring farce. At the same time, it has themes and rhythms that are in tune with the times, which is like a bestseller, which especially resonates in the current era.

Like Li Qing in "See You or Leave", Li Qing has always dreamed of playing what he has learned in China in the United States, the land of gold rush, and making a lot of money, which is exactly the dream of many Chinese in the late 90s, Feng Xiaogang's camera has also made many Chinese who have failed to go abroad feel Los Angeles from Liu Yuan's garage, Li Qing in the United States because he does not speak English and encountered the embarrassment of the police, there is no shortage of such cases in life.

The part of the auction of director Taylor's funeral advertisement in "Big Shot" is still very profound today, TV commercials have long been flooded, and even the Spring Festival Gala has advertising placement, and You You's treatment of Taylor's body is even more staggering, and some piracy and infringement copycats are a common topic now, which makes the audience smile and reflect more.

The part of Yan Shouyi in "Mobile Phone" who performs to answer the mobile phone of his extramarital partner is even more like a stroke of genius, and the mobile phone has also become a lie connector at the moment.

When the audience watches these films, what they see is not only You You, but also Han Dong's story, which is actually you, me and him around them. People find a sense of belonging in the film, and when Feng Xiaogang presents the story in a realistic way, he may just want to refract the shadow of contemporary people's lives, and express the hilarious scenes in a way that makes people feel absurd and fictional.

Maybe he is avoiding reality, but maybe as he said, "he has perfected others and cultivated himself", Feng Xiaogang's films sometimes do not tell a story and reflect a theme like the fifth generation of directors, and sometimes his films are very commercial, but the refined views revealed in the characters' words are essentially from the main theme of this world.

In "Party A and Party B", "a marriage without love is unhappy, and a marriage without a house is even more unhappy". In "See You or Leave", Liu Yuan taught Li Qingshi that "today's big stride back is for tomorrow's big stride."

These words are also very important here today, too much small abuse actually conceals an essential tragedy, this kind of tragedy is not personal but an inevitable helplessness, and in the end can only be laughed at.

In China, when it comes to directors, everyone will always think of Zhang Yimou, Chen Kaige and Feng Xiaogang, and the first two fifth-generation director pioneers who have won numerous international awards, Feng Xiaogang's personal awards can be said to be very few, which may be the main reason why he is not satisfied, so he wants to shoot "Wuji", shoot "1942", not so much, how much he really likes these two stories, but rather that he is competing with himself.

In Song Zheng's view, this is completely unnecessary, because Feng Xiaogang's identity is positioned as a director with huge box office appeal and established by public reputation.

Feng Xiaogang has always established his own film style with the reputation of ordinary audiences, and he is also the only big director who has been making commercial films.

As a purely commercial director, his artistic achievements may indeed not be as good as those of professional directors such as Zhang Yimou and Chen Kaige, who graduated from professional film schools, but this cannot deny the great wisdom of the little people in the depths of his films, at least these people have touched the Chinese audience and made them enter the cinema willingly.

Now, what Feng Xiaogang is going to return to is this road.

As a good buddy, Song Zheng can't watch Feng Xiaogang decline, although he knows very well how resilient this guy is, even if he was sighing just now, but with the strength of his quarrel with media reporters, it is not difficult to see that Feng Xiaogang is still far away from lying down.

But he is not afraid of 10,000 in everything, just in case, Song Zheng can't watch Feng Xiaogang fall and do nothing.

Now, what Feng Xiaogang needs most is to get back on his feet as soon as possible with the help of a work, and announce to people that he is still the same Feng Xiaogang, or the big domestic director with strong box office appeal.

Song Zheng knew that it was time for him to give full play to the advantages of the reborn, and his foresight was the best medicine to solve Feng Xiaogang's current predicament.

"Brother Xiaogang, what do you think about the blind date!?"

Feng Xiaogang was stunned for a moment, he didn't understand, how to do it well, Song Zheng suddenly brought the topic to the blind date, but what he knew about Song Zheng, Song Zheng suddenly talked about this, obviously it would not be untargeted.

"Do you have a good idea again?"

Song Zheng smiled: "That's right, you said that if you make a movie around the topic of blind date, wouldn't it be interesting!?"