Chapter 886: Pretending to be a bullshit

"How?"

The movie ended, the lights came on, Feng Xiaogang turned his head to look at Song Zheng with a smug face, looking at his appearance, it seemed that he was looking forward to Song Zheng's evaluation.

Song Zheng was directly confused by Feng Xiaogang's reaction, and co-filmed a movie, just to make himself high, what kind of beauty is it to make such a thing!?

What do you think?

What else can I do, Song Zheng can see that Feng Xiaogang has also fallen into the quagmire of "Chinese blockbusters".

Feng Xiaogang, who became famous for his civilian New Year movies, has now fallen into the pit with the crowd.

This Nima is a New Year's movie!

Fans who like Feng Xiaogang, who don't expect Director Feng to continue his efforts, so that they can enjoy a big drama that goes away during the New Year, as a result, this year seems to be doomed, Feng Xiaogang will not serve a bowl of "Chinese New Year's Eve Dinner" to the people during the New Year, so that everyone can happily say goodbye to the old and welcome the new, but have to force the big guys to have a gluttonous "night banquet".

Regardless of the "Chinese New Year's Eve Dinner" and "Night Banquet", Song Zheng actually understands that "Night Banquet" is an inevitable product of the development of Chinese films, and it is also Feng Xiaogang's inevitable choice as a Chinese director.

How to say, Feng Xiaogang has also worked hard in the domestic film industry for more than ten years, and can be called a figure in the Chinese film industry, and his reputation is not inferior to Zhang Yimou and Chen Kaige.

When Zhang Yimou set off a wave of Chinese blockbusters with "Hero", created a "hero phenomenon" in China, and became popular in the international market, the civilian New Year route was too monotonous, and Feng Xiaogang was much more disgraced than the fiery Zhang Yimou.

How to enhance the existing reputation and how to broaden the subject matter of the film naturally became a problem that he needed to solve.

The existing business practice in China proves that the road to blockbusters is the best shortcut.

As a result, "The Night Banquet", adapted from Shakespeare's famous "Hamlet", became Feng Xiaogang's choice of blockbuster film to enter the international arena.

If you add Chen Kaige, who will compete with Feng Xiaogang in this year's Chinese New Year, and his "Wu Ji", the three most influential directors in China are all on the same path of Chinese blockbusters.

In Feng Xiaogang's eyes, this "feast" is not only the need of the people's entertainment, but also carries the national responsibility of maintaining Chinese culture and art.

But is this so-called national responsibility really necessary!?

Song Zheng expressed doubts!

"Brother Xiaogang, don't ask me yet, what do you think of this play?"

Feng Xiaogang is now full of "Night Banquet", listening to Song Zheng's question, he immediately talked eloquently: "I naturally feel that I have done my best, first of all, in audio-visual art, "Night Banquet" can be said to be a creative reproduction of the elegance of ancient China, and regain the long-lost ancient charm. This kind of audiovisual art from the ancient Orient has every hope of gaining a foothold in the world aesthetic forest and is not inferior. At the same time, it is also a reversal of the 'pseudo-national Chinese symbol' that has been misunderstood by the world for a long time. ”

Feng Xiaogang is indeed very good at vernacular, at least now, Song Zheng is completely confused, what is this TM!?

Indeed, the color composition of this movie, the soundtrack and the choreography are indeed commendable, but they are not as good as Feng Xiaogang said!?

Judging from Feng Xiaogang's self-confidence, it is indeed very foolish, if you haven't watched "Night Banquet", you have reason to believe that he is trying to avoid all kinds of strange circles of "Chinese-style blockbusters".

However, Song Zheng savored this "Night Banquet", and after reading it, all he left was a deep "sigh": Feng Xiaogang fell into the quagmire of Chinese blockbusters!

The creative team of this "Night Banquet" is indeed luxurious, with the top elites of the Chinese film industry gathered in front of and behind the scenes, with international superstar International Zhang and Cannes actor Uncle Ge, together with the Golden Statue actress Zhou Xun and Golden Horse Award winner Wu Yanzu to perform a royal legend about love and power.

Coupled with the behind-the-scenes participation of Ye Jintian, Tan Don, and Yuan Heping's masters, anyone will think that this will definitely be a classic recorded in the history of Chinese films.

However, after Song Zheng watched it, he could conclude that after the release of "Night Banquet", he would definitely not be able to get rid of the fate of "box office and word of mouth".

In terms of technology, "Night Banquet" is indeed very good, but watching movies and stories is about the performances of actors, and in this regard, Song Zheng feels that "Night Banquet" can't even reach the passing line.

The story is taken from "Hamlet", which itself is not next to the majority of ordinary audiences, the background of the times is cold, "Night Banquet" chose the five dynasties and ten kingdoms of the Tang Dynasty and the chaos of the war, in a certain dynasty, the lovers who married their father and became the queen of their father, and after the bizarre death of the father, he was committed to the emperor's uncle Emperor Li and was canonized as Empress Wan, so a period of love and hatred and power struggle surged between the prince, Emperor Li, Empress Wan and the ministers.

In general, Feng Xiaogang did not lose his overall narrative ability, and the film renders the story that happened in this dynasty into a world of pathos.

Emperor Li, who has the country and is obsessed with Wanhou, chose to drink the poisonous wine held by his lover, and the Wanhou who has no desire and is loyal and infatuated helplessly fell into the whirlpool of three men in love, even if he uses all his strength, he can't get rid of the eternal fate of "red face and thin life", the prince who is depressed and pursues art is in love with a woman who should not be loved, and becomes a victim in the revenge and power struggle, and the young girl who has no desire and no desire, loyalty and infatuation drank the poisonous wine that should not be drunk, and Yin Falcon, who is both civil and military, and loves his family, went to Huangquan in vain.

In two hours, the misery of each character dying for love made Song Zheng really feel Feng Xiaogang's sensational thoughts with all his might.

What disappointed Song Zheng was that he was still not moved until the subtitles came out, and he even wondered if he was too numb and cold?

It's a pity that the answer is obvious, it is not Song Zheng's numbness, but Feng Xiaogang's disorientation on the road of China's blockbuster.

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 and farewell, and "Heroes of Heaven and Earth" makes it even more difficult to justify the Buddha's light to kill the enemy and preside over justice.

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, "Night Banquet" is a space composed of desire, power, betrayal, revenge, and intrigue.

Feng Xiaogang completely deviated from the people's aesthetic taste and value orientation.

Mr. Lu Xun once said: "Tragedy is the destruction of valuable things for others 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 played by Zhou Xun, Song Zheng can't see the brilliance of human nature, but the problem is that this role is completely dispensable in the whole movie.

Everyone else has become captives of selfish desires and power, deceitful and deceitful, and their hearts are twisted, like a dark and dark world.

At the same time, it is also an incestuous world with ambiguous relationships between uncles and sisters-in-law, mother and son, and brother and sister, which undoubtedly deviates from the audience's most basic ethical norms and the minimum appeal for beauty.

In this black, incestuous world, everyone has insidious, cruel, and cunning sins, and everyone has a reason to die.

These Feng Xiaogang didn't think about it at all, how could the audience be sad and sympathetic to the deaths of "wicked people", even if they were in the name of love.

The problem with the script of "Night Banquet" is also manifested in the combination of Chinese and Western, half-literate and half-white, nondescript lines, and the dialogue similar to "You are the queen, the mother of the world, and you still kick the quilt when you sleep!" has become an extra joke.

The confusion of logic in the film can be seen everywhere, when Yu Linwei assassinated the prince in the opening film, Wuluan hid under the water to escape the catastrophe, and as the emperor's wanted person, he then met Empress Wan in the palace, could it be "falling from the sky"?

Emperor Li feasted hundreds of civil and military officials at night, plotting to punish adultery and eliminate evil to consolidate the royal power, how could it be possible to "kill a young girl halfway" and play the Yue Ren song on such a confidential occasion?

As a movie that entertains the public, the flying knife that came out to kill Empress Wan in the end made Song Zheng full of doubts, is it art or pretending to be deep?

Is it suspense or mystery?

In Song Zheng's view, these are pure nonsense, and they are all bugs that do not find margins!

Feng Xiaogang is just blindly pursuing audio-visual feasts and creating on-screen spectacle, which is a big mistake he made when making this film.

Feng Xiaogang unconsciously walked into this gorgeous misunderstanding, the film's creation of grand and magnificent scenes exceeds the management of the story itself, making "Night Banquet" slide into the same situation as existing Chinese blockbusters into the situation of "form over content".

In terms of the elements of the film alone, "Night Banquet" is an audio-visual enjoyment, and due to the global success of "Crouching Tiger, Hidden Dragon", the martial arts-themed kung fu action has become a major attraction and selling point of Chinese blockbusters.

Although "Night Banquet" is positioned as a court drama, it is grafted with the action of martial arts films, and martial arts instructor Yuan Heping maintains the level of the past, and combines traditional kung fu with dance, making the movements of the film more like a modern dance performance. The pictures designed by Yip Jintian are beautiful, and the costumes are extremely gorgeous. Stanton's music adds a lot to the film, sometimes majestic, sometimes poignant, "Song of the Yue People" is very moving from melody to lyrics.

In a limited time, form and content are a contradiction of binary opposites, and the extreme pursuit of form will inevitably weaken the expression of content, which is highlighted in "Night Banquet" as a lack of in-depth portrayal of delicate emotions.

In the past, most of Feng Xiaogang's Chinese New Year movies won the audience's reputation with the capture of the identity of the low-level characters, and last year's "No Thieves" tells the story of thieves, but when Wang Lipu swallowed food with tears at the end of the film, the audience was still moved by love.

In "Night Banquet", Song Zheng magically couldn't 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 film with emotions as the main line, the feelings are superficial, unable to form a spiritual communication with the audience, the characters lack the most basic 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" for Chinese blockbusters, not only did not abandon many Chen Ke of Chinese blockbusters in "Night Banquet", but lost his personality and essence.

Song Zheng couldn't help but wonder, why didn't Feng Xiaogang, a director who is very good at storytelling, try to give up part of the form and replace it with the portrayal of the story itself?

For example, although the actions of "Night Banquet" do not disgrace the "mission", the repeated kung fu performances of Chinese blockbusters have long made the audience aesthetically fatigued, and no matter how brilliant the fight is, it is difficult to beat the chess hall rain battle between Jet Li and Donnie Yen in "Hero".

The dazzling dance-style martial arts in "Night Banquet" can't produce the thrill brought by the actions in "Men Should Be Self-Improvement", "Jingwu Heroes", and "Slaying the Wolf".

If Feng Xiaogang can give up some of the action scenes and use the time occupied by the action scenes as a meticulous crafting of the plot and making the plot full, I believe that "Night Banquet" will never become another victim on the road of Chinese blockbusters.

After watching such a play, Song Zheng was depressed and scratching his lungs, Feng Xiaogang actually dared to ask with a shy face: "How is it?"

How can Song Zheng answer?

At the beginning, what should be said and what should not be said, Song Zheng had already followed Feng Xiaogang, but when he saw the final product, he found that Feng Xiaogang did not adopt any of the opinions he gave.

The absurdity of the story adaptation, the exaggerated performances of the actors, and the constant plot bugs, Song Zheng can't even help asking, will you give such a thing to fans who like you during the Chinese New Year?

Don't you feel sorry if it's so difficult?

Song Zheng admired Feng Xiaogang's courage in gambling on his family background and shooting domestic blockbusters, and even admired the Wang brothers and sisters for their friends.

However, no matter how much Song Zheng admired, it was useless, because Feng Xiaogang finally made up a pit.

Song Zheng didn't think it was strange that Feng Xiaogang didn't accept his opinion, most of the domestic directors were stubborn and couldn't listen to different opinions, let alone a great director like Feng Xiaogang.

Song Zheng didn't feel angry, but he just felt that it was a pity that Feng Xiaogang could have done better, but as a result, such a deformed child was born under his hands.

Alas~~~~~~

Song Zheng sighed, he could sense that when he sighed, Feng Xiaogang's face changed slightly.

Seeing this, Song Zheng couldn't help but smile in his heart, and said secretly: As Lao Tzu expected, Feng Xiaogang wanted to play deeply, and wanted to force the audience to admit his artistic level, but in the end, he couldn't pretend to be forced to do it, but he pulled the egg!

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