Chapter 677: What's the Picture?

Song Zheng still remembers that there is a narration at the end of "1942": "I forgot all these bad things, and you wrote it again, what are you doing?"

So now Song Zheng really wants to ask Feng Xiaogang, such a terrible movie, what are you shooting it again?

Although Song Zheng doesn't know what Feng Xiaogang is trying to do with this film, anyone who has watched this movie can ask themselves with their conscience whether this film restores a relatively objective and true history that is not known to the majority of young people and cannot be erased.

Although this movie, like many film and television works, has a lot of flaws, but there is no gold and no one is perfect, and in the history of world cinema, how many works can really make the audience not find fault!?

is another movie that reflects real history, and when Feng Xiaogang restores this history, what he tells through the movie is still rigorous after all.

History is people's common memory, and the bond that maintains a nation's emotions and relationships is the common memory, Chinese people have a large population, Chinese like to study history repeatedly, this is not bad, so that people can remember bittersweet, or more united.

"You turn this story out, isn't this intentional to make people feel uncomfortable and earn people's tears!?"

Feng Xiaogang looked at Song Zheng, and after a while, he held back one: "Fart!"

In fact, Feng Xiaogang didn't want to earn the audience's tears at all, nor did he want to kidnap the audience with a disaster movie, he was telling a story very calmly, a story that was slightly more boring and slightly more interesting than a documentary.

In Feng Xiaogang's view, it is just a piece of past history, and no one needs to be responsible for these tragedies anymore, watching movies is originally a kind of emotional enjoyment, and rational thinking is imposed on them by the audience, but it is not the movie that forces anyone to think about those bitter and tiring problems.

Feng Xiaogang's "fart" made Song Zheng understand that no one should talk about the politics behind the film, and don't get entangled in what human nature is, just enjoy the movie itself first.

If you really want to talk about it, this "1942", Feng Xiaogang's directing skills are still reflected, every time he sees that he is about to cry, the story will immediately divert the audience's attention, let the audience put away their tears, and occasionally mix some black humor, which makes people laugh.

Song Zheng thought carefully about the movie-watching experience in his previous life, and really felt that Feng Xiaogang's "1942" was not a boring work, the movie lasted 146 minutes, and at first he was thinking about whether it would be too long, but later after entering the movie, he completely forgot about it, and he was simply overwhelmed.

The more than two-hour film uses a flat and direct narrative to tell a story that makes people unable to calm down, causing a particularly strong sense of helplessness and psychological contrast, except for the priest's part, which seems a little contrived and procrastinating, the rest of the story progresses unhurriedly.

The main line of the story is also very clear, divided into two clues, one is the people on the way to escape the famine, and the other is the Kuomintang, the Kuomintang, and the government.

Switching freely between the disaster area of Henan and the capital of Chongqing, forming a strong contrast effect, the sense of helplessness against natural disasters and the irony of man-made disasters are clearly revealed.

The main line on the road to escape from the famine basically revolves around the old club, the old club has experienced a very dramatic escape experience, from the painful struggle to resentment and helplessness, from the initial person Ding Xingwang to the death and scattering of the whole family in the end, leaving him alone, really telling the audience what is called the era of war and famine and famine.

And female characters such as Huazhi and Xingxing have to make some painful, helpless, but hopeful choices in the face of disasters, which can be regarded as contributing to the survival of the family.

Comparing the emotional obsession of the child with the belief in "saving life" on the lips of the old horse, although it is a little pretentious, it still shows the difference between a faithful groom as a Chinese slave and a sleek cook as a Japanese slave cruelly, which makes people desperate and miserable.

On the part of the government, Li Peiji's persistence in sympathizing with the people's feelings and Jiang Dingwen's callousness in contempt for refugees are opposed, and in the end, Li Peiji also expressed his helplessness in the officialdom, as well as the form-oriented slogan rehearsal and the complete defeat of the tragic bullying, all of which showed the substantive corruption and incompetence of the Kuomintang and the Kuomintang government.

There is not much soundtrack in the movie, and there is no deliberate incitement of people's emotions, to be honest, the more than two-hour running account of the movie is like a documentary, but in this rational story, Feng Xiaogang seems to be holding a delicate emotional whip, slowly whipping the audience's heart again and again.

You hurt a little, and then let you ease up, and staggered repeatedly.

Song Zheng personally prefers a calm narrative, which makes people feel the pain and helplessness, struggle and indifference of the story itself.

As for those viewers who dislike Feng Xiaogang for not being sharp enough and not big enough, to borrow a sentence from Li Peiji in the film: "If the government doesn't provide disaster relief, you will sigh for a long time, and now that the government is relieving the disaster, you are arguing and fighting here again." ”

In Song Zheng's view, Feng Xiaogang has tried his best to restore it, and the story will appear real precisely because it is expected by people, as for those viewers who want to watch people eat people, or more cruel and bloody scenes, they either can watch it enough, or they will first make a film of this scale and release it in China, creating a precedent for Chinese films.

In fact, all audiences who have watched "1942" should be grateful and encouraged by actors such as Feng Xiaogang and Zhang Guoli, who are full of sincerity, to create such a movie.

Because this movie really deserves to be called full of sincerity.

However, what Song Zheng has to face now is what to think of Feng Xiaogang's idea of filming this film, support, or opposition!?

Song Zheng knows very well that if Feng Xiaogang makes this movie, what awaits him will definitely be liked by some people, but there will definitely be more slander.

Just like Feng Xiaogang's previous filming of "Night Banquet", regardless of whether "Night Banquet" is good or bad, Feng Xiaogang's huge change in style is itself intolerable to the audience, and people are still more willing to see him make a small citizen comedy like "Party A and Party B".

filmed "Night Banquet" and played a deep and scolded dog's blood, Feng Xiaogang is now "inch in" to start filming tragedy, Song Zheng estimates that this time Feng Xiaogang can even lose his character.

What is the picture of such a fight?

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