What Song Zheng and Feng Xiaogang said was naturally the "Tangshan Earthquake", when he first learned from the media that Feng Xiaogang made such a film in his previous life, he actually didn't have much expectations.

I think that movies with this kind of theme are nothing more than earthquakes, people die, and then come out of the pain, that's all.

However, as a loyal fan of Feng Xiaogang, Song Zheng finally couldn't hold back and obediently walked into the cinema.

The whole story is not only about the earthquake and the aftermath, but also about the story and changes of a family for more than 30 years.

The film is Feng Xiaogang's ambition, and he wants to document not only a disaster, but also how it changes the trajectory of every member of a family.

Yuan Ni, played by Xu Fan, lost her husband in the earthquake, and her twin children were crushed under the house, and they were in critical condition, so they could only choose to save one.

And Yuan Ni in grief, chose to save her son, she held her son and rushed to the airport for ambulance, but her daughter woke up unexpectedly and was adopted by the disaster relief soldiers, the story slowly unfolded from here, the movie, from 1976 to 2008.

In the two-hour film, Feng Xiaogang uses his unique civilian perspective and his own experience to construct a 32-year history of China's development for the audience.

He talked about reform and opening up, about private self-employed, about going south to pan for gold, about the college entrance examination, about college students, about having children out of wedlock, about foreign-related marriages, and about the vigorous development of tourism.

In fact, the name "Aftershock" is more suitable for the movie, because this movie is not only about the Tangshan earthquake, this earthquake is just an introduction, it only occupies the first 10 minutes of the film, and the remaining nearly 2 hours are telling the audience how the earthquake changed an ordinary family.

Every member of this ordinary family has been portrayed very vividly, Xu Fan played Yuan Ni, because she is deeply immersed in the grief of losing her husband and the guilt of her daughter, she has chosen the most miserable life and widowhood for decades, and her personality has changed greatly, she hopes to torture herself to make her relatives in heaven forgive her, in the words of her son Fangda, "Mother's heart has long been broken."

There is also a particularly outstanding role, that is, Zhang Jingchu's daughter Fang Deng, because she was angry at her mother's ruthless abandonment of her behavior, she chose to forget, chose to leave, and chose to live another life, she dropped out of college, she became an unmarried mother, she married a foreign man who was more than 10 years older than herself, she moved to Canada, she hoped to forget her mother, forget that complicated feelings, but when the Wenshan earthquake happened, a tragic scene appeared in front of her as 32 years ago, she finally understood that relatives, after all, are still relatives, so she chose to return to her mother's side。

This is a story that greatly surprised everyone, because it is not simply about how to get out of the shadows after losing a loved one, nor is it a simple pain of life and death, Feng Xiaogang is very sincere to make a good story, he is using this movie to tell the scars brought by a disaster, in the face of this scar, some people choose to escape, some people choose to sprinkle salt on it every day, and some people choose to forget, with the thirty years of China's reform, Feng Xiaogang told the audience about the lives of these people over the years.

Another surprising point of the movie is the description of the Wenshan earthquake at the end, although at first it seems a bit far-fetched to put the two earthquakes 32 years apart into one movie, but when the flag of the Tang Mountain rescue team was erected in the ruins of Wenshan, people were still deeply moved.

It is a force whose blood is thicker than water, which needless to say, has transcended certain political consciousnesses, and has moved people to tears.

In short, Feng Xiaogang and his "Tang Mountain Earthquake" did not disappoint the audience, this satisfaction is based on the fact that this film is not a special effects disaster film that describes the earthquake scene, this satisfaction comes from Feng Xiaogang's consistent accuracy in grasping the story and the emotions of the characters, and this satisfaction also comes from the unreserved superb performance of the acting actors led by Xu Fan.

Song Zheng has been until now, and he still remembers the scene when he went to the cinema to watch this movie in his previous life, the film opened in silence, and the slightest sound could not be heard in the screening hall of Nuoda, solemn and solemn.

When the huge bright red title was eye-catching, the audience was already deeply shocked, and this formal expression of emotion was like spreading a huge net and firmly enveloping the audience's heart.

In fact, there are quite few real disaster special effects in the whole film, which is also the disappointment of many young people who rush to see stunt blockbusters.

However, it is undeniable that the earthquake scene in just a few minutes at the beginning of the movie, in terms of the production level of domestic films, has been quite sophisticated and realistic, and all kinds of omens before the disaster, and the feeling of landslides and ground cracks when the earthquake came, all gave people a shock, and also reproduced the catastrophe to the greatest extent.

Several top-down shots of Tang Shan in the movie are very memorable, the happy and warm summer night before the disaster, and the tragic scene like a dead city after the disaster.

The story then revolves around a mother's painful lifelong decision in the aftermath of the earthquake, and tells the story of the ups and downs of the world and the difficult journey of each person's soul over the next 32 years.

Similarly, the narrative line has also developed from Fang Deng's adoption to the parallel narration of two families, a simple two main lines, with the theme of family affection, supporting each other to complete this story that spans decades.

The choice of an earthquake affects the life of a mother, as well as the joys and sorrows of two families, and the 23-second earthquake triggers a 32-year aftershock of human psychology.

Feng Xiaogang put Li Yuanni, the mother, into the dilemma of moral choice again and again, and always let her face the world with a stubborn heart, self-punishment and self-exile, so that the audience can sympathize with this poor world and this poor person.

When encountering the choice of saving his son or saving his daughter, I believe that every audience also follows the actors, and at the same time encounters an emotional purgatory, Xu Fan's performance is really shocking, and the scene where the only son is amputated and wants to be taken away by his mother-in-law is Xu Fan's emotional flashpoint, and finally the mother and daughter recognize each other, Xu Fan washed four tomatoes for Zhang Jingchu, because on the night of 32 years ago, the younger brother ate the only tomato, and the mother promised to buy it for her daughter the next day, this promise was fulfilled in 32 years。

On the other side of the story, after Chen Daoming and Chen Jin adopted Zhang Jingchu, the husband and wife went from the initial disagreement to the difficulty of parting at the time of death, Zhang Jingchu thought of her experience of being abandoned and refused to have a baby, and she and Chen Daoming told why they couldn't forgive their mother, and finally Zhang Jingchu went to Wenshan to rescue in person, feeling that every abandonment was a last resort, and the most hurt was the relatives who made the choice, and 32 years of hatred turned into remorse.

Thirty-two years in length, the joys and sorrows of several people in two families, Feng Xiaogang behaved freely, because he knew that the story should be structured around the main characters, and the usual stereotyped performance should be removed.

For example, when Fang Deng was adopted, he did not show her as the old routine of calling uncles and aunts first, and then calling her father and mother, and went directly into the play.

Fang Deng and Fang Da's meeting at the rescue site in Wenchuan did not give an explanation for the recognition of the two, the camera is everything, that is, they sat on the bus and returned to Tangshan, and the next shot was through Xu Fan's trembling hands that couldn't pinch the dumpling skin, to explain that she knew that her daughter was not dead and was waiting for her to go home.

When he returned home, he didn't give Xu Fan a close-up with tears in his eyes, but trembled slightly, and through the window, he calmly told his daughter to enter the house.

This is very commendable, many directors in these places will choose to unfold the plot, but Feng Xiaogang's handling of these paragraphs is very restrained.

It's inciting, but it's very forbearing, and it stops when it comes to the point.

For another example, Xu Fan's rejection of Yang Lixin's two sentences of "impossible" when he sent him away was clean and neat. Also, the scene of siblings recognizing each other is completely eliminated, and it is directly cut to go home to recognize their mother, which is full of rhythm. This also happens to control the emotion, so that all the points come together, and finally usher in the high tide, the mother kneels, and the mother and daughter recognize each other.

Mother kneeling down to start from washing tomatoes, this is the cleverness, the details are the most moving, a foreshadowing at the beginning of the understatement, at this moment has become the most tear-jerking emotional strengthener, Ren Tieshi's heart has been softened, nothing else, just a tomato, a thousand words, all at that moment.

As for the fate of his sister after pregnancy and his younger brother's growth experience, Song Zheng thinks it is also very wise, all the contradictions are concentrated in one point, how can mother and daughter recognize each other?

In this sense, an earthquake is nothing more than a background, and it can be replaced by any other kind of deadly disaster, such as a car accident or an accident, and this proposition can be true.

Therefore, Song Zheng prefers to see this movie as a family ethics film, that is, how to forgive the harm caused by relatives, how to forgive and self-redemption, how to let go and be relieved?

In this way, "Tang Mountain" has become an adjective, which cannot escape the catastrophe, but will inevitably be reborn.

It can be said that this theme, except for Feng Xiaogang, there are really few people who can carry it, Zhang Yimou and Chen Kaige really can't do it in storytelling, although Lu Chuan has experience in controlling large scenes in "Nan.Jingnan.Beijing", it is difficult to ensure that he can handle such a sensitive subject, Jiang Wen is too thoughtful, and it is estimated that he will shoot this theme in a bizarre way, so only Feng Xiaogang.

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