Feng Xiaogang said dryly, but found that Song Zheng had not said a word except for two questions at the beginning, and he couldn't help but wonder in his heart. Pen & Fun & Pavilion www.biquge.info

"Hey, I've been talking about this for a long time, what the hell do you mean!?"

When Song Zheng heard this, he couldn't help but smile bitterly, what else could it mean!?

Knowing that it was a pit, could he still have the courage to jump in without hesitation, if that was the case, how stupid would he be.

Song Zheng is really looking forward to cooperating with Feng Xiaogang, in fact, he asked Huayi Brothers to cooperate in "Hurricane Rescue", on the one hand, to share the risk, and on the other hand, he wanted to force Feng Xiaogang to come to him to cooperate.

But the problem is that Song Zheng didn't think about it from the beginning, mixing it in the broken film "Night Banquet"!

Song Zheng wants to cooperate with Feng Xiaogang, that is to make a name for himself as a studio, of course, making money is also very important, he doesn't want to be stupid and jump into the fire pit.

Feng Xiaogang's previous works can sell well because he can tell a simple story interestingly, the vivid humor of the language, and the small insights of life, so that the audience can secretly laugh in their hearts.

However, if this kind of cleverness is really put into a tragic story with a huge structure, it will obviously immediately lose its original effect, and it will have the opposite effect.

"Night Banquet" is a tragedy, but it has the function of making the audience laugh, Song Zheng could only try to avoid laughing when watching "Night Banquet" in his previous life, but there are still occasional unbearable things, what is the problem?

This movie is full of faults, the most important flaw is the lines, after watching the whole movie, Song Zheng can almost taste Shakespeare's plays, Feng-style Chinese New Year films, modern poetic buzzwords, half-literate and half-white multiple contexts, so many stylized languages appear in the same film work, how can you not laugh.

Dialogues similar to "You are the queen, the mother of the world, and you still kick the quilt when you sleep!" became an additional joke for the audience.

The inconsistency of the language style of the whole film is a fatal wound to the establishment of the overall style of the film, and the inconsistency also exists in many aspects of the film.

After the release of "Night Banquet" in his previous life, Feng Xiaogang once said that "Night Banquet" is borrowed from Shakespeare's famous play "Hamlet", so if this Westernized story is completely interpreted in Shakespeare's style, it is okay, but the film is a little greedy and chewy, and it absorbs Western court stories, and integrates Japanese film elements into the film.

Since Chinese blockbusters love to learn from Akira Kurosawa, then you might as well take a look at Akira Kurosawa's representative work "Chaos", which is also adapted from Shakespeare's "King Lear", but when opened, it is a picture of Japan's Warring States without many traces of Westernization.

However, Feng Xiaogang's sometimes literary and sometimes secular style expressed in "Night Banquet", which imitates and patches together a variety of exotic cultures, is obviously difficult to establish the characteristics of the basic culture, making it difficult for people to read much of the flavor of history, and the picture can only achieve the similarity.

Of course, you can borrow a framework for making a movie, but you have to fill it with your own things, and you need to have your own perception and thinking.

Feng Xiaogang wants to express desire, love, and hatred in "Night Banquet", and he expands the story of "Hamlet" to form a triangle between the emperor, empress and prince, and also between the empress, the young girl and the prince.

To the point, Feng Xiaogang's storytelling ability is stronger than Zhang Yimou and Chen Kaige, and the development of the film's story is smooth most of the time, compared with the flaws of "Ambush on All Sides" and "Wuji", the story of "Night Banquet" is barely decent.

It's just that when the story progresses to the end of the night banquet, it does not inspire the climax it should have, but only the accumulation of corpses, especially the emperor's suicide by drinking poison is even less convincing.

Song Zheng understood that what Feng Xiaogang wanted to express was that the Emperor Li played by Uncle Ge was obsessed with the queen and did not hesitate to sacrifice his life, but the film's foreshadowing of this point was obviously insufficient, and the death of Emperor Li in the end brought the audience a very abrupt feeling.

Song Zheng admits that compared with Zhang Yimou and Chen Kaige's blockbusters, "Night Banquet" can be regarded as more reliable, but it still can't escape some common problems, such as exposed erotic shots and gorgeous action design.

All Chinese blockbusters are martial arts action movies, because kung fu is unique to us in China and not in foreign countries, just like giant pandas, you can go abroad to show off, in fact, to put it bluntly, blockbusters are made for foreigners, Yuan Heping, Ye Jintian, Tan Dun, a team that has won awards in Hollywood, has become an organic combination of blockbusters, and it is always these few who come and go, these filmmakers who are fragrant outside the wall have almost become the selling point of domestic directors playing overseas cards.

The action in "Night Banquet" is beautiful, but all the action design must serve the content, too much or too much exaggeration is not good.

Many of the action scenes in the film "Night Banquet" seem to be unnecessary, for example, it is very unnecessary to design the queen as a master, and it is really designed to be prepared for fighting.

And the queen and the prince came to fight as soon as they met, it was really more form than meaning, and it was even more smack-throwing to design the stick punishment so exaggerated, in fact, this bridge only needs to express the cruelty, and there is really no need for people to fly up and down.

Maximizing the magnificence of all the existing action scenes actually weakens the film's sense of gravity as a historical tragedy, making the film full of frivolity.

Exposed erotic scenes appear quite frequently in "Night Banquet", and Song Zheng doubts the meaning of the existence of these scenes, is it really necessary for the erotic scenes in the film, and what impact does it have on the development or promotion of the story?

I'm afraid that cutting out certain sets of shots will not have much impact on the whole film, it exists only for commercial considerations, and more importantly, as a means of hype for the film.

Song Zheng has always felt that the failure of "Night Banquet" is that Feng Xiaogang has complicated simple problems, complicated a simple story, and then imposed a great connotation, and the form and thought often seem incompatible.

Song Zheng remembered that after the screening of "Night Banquet", when Feng Xiaogang was interviewed, the first sentence was: Chinese are frightened by blockbusters.

This sentence is very intriguing, as a box office guarantee in China for many years, in the face of this transformation work that he has high hopes for, how much of it is to excuse himself, and how much is it because of feelings?

Feng Xiaogang, as a director, can be high and low, pretending to be deep, but the audience can't!

The audience does not come to the movie with the attitude of appreciating art in the first place, the purpose is very simple, that is, entertainment, and as a result, the director, screenwriter, and actors have to lead the audience to think deeply, who can stand it!

"Night Banquet" gave Song Zheng the feeling that it was like a small restaurant whose business was originally quite good, and one day suddenly wanted to concoct a table full of Han people, although the side dishes and seasonings came up according to the recipe one by one, but the food made was tangible and godless, and it may be a little mean to say that it was unpalatable, but to say that it was delicious, because the chef deliberately pursued big dishes, even the taste of the original small restaurant was lost.

If you look at "Night Banquet" as a commercial film, the film has a slow pace, lacks high tide, and has a dark tone; if you look at "Night Banquet" as a literary film, it is too rigid and blunt in terms of expression, the characters are flat, and the theme is vague.

The script and lines are all Shakespeare's, the long shots and montages are all familiar, and the two most important aspects of a movie, what to tell and how to tell it, are all written by others.

Song Zheng looked at Feng Xiaogang and was about to follow him, and couldn't help asking: As far as your movie is concerned, what else is your own?

Of course, if Song Zheng really asked, Feng Xiaogang would definitely be able to answer a lot, but the real answer was: almost nothing.

The rigidity of the film stems from the fact that the director's role in the film is minimal, what Feng Xiaogang achieved in "Night Banquet" is to make the movie look "literary enough", at the cost of the complete loss of director's consciousness, the movie looks like a "master", but it is not a "master" at all, because "Night Banquet" has no soul at all.

Just like some people say that International Zhang's performance in "Night Banquet" is remarkable, Song Zheng feels that the reason why International Zhang's acting skills in "Night Banquet" looks like a thing is entirely due to the staged style of "Night Banquet".

Pretentious, drama-filled dialogue and performance, it is naturally not difficult for an actor who has been trained in acting.

The reason why Feng Xiaogang adopted such a method of expression is that it looks literary enough, and secondly, this kind of performance is the safest, and it can be moved from the Shakespeare performance in a large section, this feature is revealed in the monologue of the emperor before his death, in this key plot, the monologue of the emperor almost copied Shakespeare, because this part is the most critical, and copying is the safest and will not go wrong.

However, in this way, the soul is gone.

The blind pursuit of audio-visual feasts and the creation of screen spectacle is a major misunderstanding of Chinese directors in the production of blockbusters, and Feng Xiaogang unconsciously walked into this gorgeous misunderstanding, the film's creation of grand and magnificent scenes exceeds the management of the film story itself, making "Night Banquet" slide into the same situation as existing Chinese blockbusters into the situation of "form over content".

Most of Feng Xiaogang's Chinese New Year movies have won the audience's reputation with their capture of low-level characters. , however, in "Night Banquet", Song Zheng could not find a low-level character, and all the characters were high-powered palace nobles.

These characters themselves have a distance from the general public, not to mention the lack of necessary foreshadowing for the emotions between them.

In this emotionally oriented film, the feelings are superficial, unable to form a spiritual communication with the audience, the characters lack flesh and blood, and the dry body cannot make people breathe and share the same fate with them.

For example, Emperor Li died for Empress Wan, but the film did not give the two too many scenes, so that when Emperor Li was in love, Song Zheng felt both abrupt and absurd.

It can be said that Feng Xiaogang, who tried to "set things right" with Chinese blockbusters, not only did not abandon many Chen Ke of Chinese blockbusters in "Night Banquet", but lost his personality and essence.

It is undeniable that Chinese blockbusters are of great benefit to defending the domestic film market and prospering Chinese films, however, blockbusters are more like a quagmire for Chinese directors.

"Night Banquet" failed to become the expected "milestone" of Chinese blockbusters, but instead became Feng Xiaogang's personal "Waterloo".

The biggest reason for the word-of-mouth problems of all Chinese blockbusters is related to the theme, "Hero" deviates from thousands of years of chivalrous spirit, "Ambush on All Sides" has degenerated into vulgar empathy, "Heroes of Heaven and Earth" makes it even more difficult for Buddha to kill the enemy and preside over justice, and "Wuji" is moving towards nothingness in the grand theme expression.

The biggest failure of "Night Banquet" is rooted in the failure of the script, which once again exposes the fate of Chinese blockbusters. If "Hamlet" is based on love, family, glory, life and death as the stage theme, the night banquet is a space composed of desire, power, betrayal, revenge, and intrigue.

Mr. Lu Xun once said: "Tragedy is the destruction of valuable things for people to see." ”

Only things that conform to the public's aesthetics and value judgments can be regarded as beautiful things, and when these things are destroyed, the heart will be touched.

In the film, except for the young girl, Song Zheng can't see anything, even a little bit of humanity. All people have become captives of selfish desires and power, deceitful and deceitful, and their minds are twisted, just like a dark and dull black world, and at the same time, an incestuous world with ambiguous relationships between uncles and sisters-in-law, mother and son, and brother and sister.

These undoubtedly deviate from the audience's most basic ethical norms, as well as the minimum appeal for beauty. In this black, incestuous world, everyone has insidious, cruel, and cunning sins, and everyone has a reason to die.

The choreographer didn't think about how the audience could be compassionate about the deaths of "wicked people", even if they were in the name of love.

Feng Xiaogang is a smart person, this cannot be denied, look at the fruitful achievements on his director's resume, there are several directors in Chinese mainland who can match.

Feng Xiaogang is a craftsman again, he is not a master yet, at least not now, compared to Chen Kaige and Zhang Yimou, he does sometimes seem to be full of ingenuity, in Wang Shuo's words: Ya is a layman.

is such a smart and popular craftsman, united with the iron-clad actor Uncle Ge, to dedicate one wonderful and favorite comedy movie to the audience.

From "Party A and Party B" to "See You or Leave", from "Endless" to "Big Names" and "Mobile Phones".

Feng Xiaogang, who has earned enough money and enough popularity, is finally uneasy now, this is normal, it is not Jiang Lang's talent, it is not that he is immeasurable, people go to high places, everyone will want to challenge themselves to see how many catties and taels they have.

Song Zheng can clearly feel that what Feng Xiaogang is eager to prove now is: I am not only at the box office!

So, Feng Xiaogang came up with the deformity of "Night Banquet", which is different from any previous Feng Xiaogang-style movie, covering international chapters, Zhou Xun, Uncle Ge, Shuai Wu and other stars, and the production team is composed of masters such as Tan Dun, Yuan Heping, Ye Jintian, etc., and the ambition of condensation can be seen.

Feng Xiaogang wanted to throw off his arms and do it desperately, but Song Zheng didn't want to wade into this troubled water at all, because he knew the result, it was too embarrassing.

But I didn't know how to refuse, looked at Zhang Yuan and them, and was surprised to find that they were all confused, obviously stunned by Feng Xiaogang.

Feng Xiaogang waited for a while, but he didn't see Song Zheng give an accurate word, and then looked at the expressions of other people, and felt that something was wrong.

"What's going on!?"

Song Zheng sighed, looked at Feng Xiaogang helplessly, and asked, "Brother Xiaogang, why did you suddenly want to make such a movie ~~~~~~!?"

After Song Zheng finished asking, he found that the others had also looked over, obviously with the same question in their hearts.

Feng Xiaogang was stunned, he really didn't expect that he would get such a question after talking for so long, he was ready to meet the worship of these little brothers!

"Why, I'm here to prove myself!"

Prove?

What do you prove!?

Song Zheng can think that he also understands Feng Xiaogang's thoughts, he just wants to prove that he is not only the box office guarantee of the Chinese film industry, but also the art and connotation of play.

Especially after "Hero" came out, Feng Xiaogang's mood became even stronger, and for this reason, he even did not hesitate to leave Huayi Brothers.

But the question is, just for such a boring idea, just for the so-called proof, do you really have to dig such a big hole for yourself?

Song Zheng really wanted to pull Feng Xiaogang's collar and tell him: "This TM is not bigger than anyone's Niu Niu after taking off his pants, this is a movie, it is a big deal of tens of millions, who wants to accompany you to mess around!"

Feng Xiaogang also saw a little meaning at this time, and asked: "Zhengzi! Are you ~~~~~~ not interested! If you are not interested, just say it!"

When it came to this, Song Zheng couldn't escape anymore, and said with a wry smile: "Brother Xiaogang, your ~~~~~ is too deep, I really can't afford to play!?"

Song Zheng originally wanted to say "pit", but in the end he held back.

When Feng Xiaogang heard this, he lowered his head and was silent, obviously very disappointed, and then smiled bitterly, looked at the others, and said, "You also think I'm crazy, what's wrong!?"

Zhang Yuan and the others, look at me, I look at you, and they don't know what to say.