Chapter 676

In his previous life, when "1942" was released, people knew that this story had been held back in Feng Xiaogang's heart for so long.

Since the nineties, it has been brewing, and nearly 20 years have passed before I am willing to take it out, those who like it, think that this movie is a "national epic, through the back of the paper", and those who don't like it think that Feng Xiaogang is abandoning his martial arts.

In Song Zheng's heart, Feng Xiaogang has always been a very special director, he is different from Zhang Yimou and Chen Kaige standing high on the shoulders of art, and is called a master by people inside and outside the circle, he is a very authentic director, a director who brings joy to the working masses.

In "Party A and Party B", he told people that "the landlord's family has no surplus grain", "I won't say anything about killing me", "a marriage without love is unhappy, and a marriage without a house is even more unhappy".

In "See You or Leave", he told people, "Do you think that dancing striptease is enough to be shameless? Then you have to be able to split, one leg kicks more than one person high, just your Chai He Niu's body bones", "The night gave me black eyes, I see, you look at me, you are as transparent as ice cubes in a glass".

When it came to "Big Names", he even dedicated to people "You must choose the best prime location, hire a French designer, build the most high-end apartment, the elevator directly enters the house, and the smallest unit has to be 400 square meters." What broadband, optical cable, satellite, can give him all the connection. Upstairs there is a garden, there is a swimming pool in the building, and there is an English butler in the building, wearing a wig, the kind of gentleman. As soon as the owner enters the door, he has to tell people whether he has anything to do: may I help you, sir? A native English London accent, Beier has face. Another aristocratic school was built in the community, and the teaching materials were Harvard's, and the annual tuition fee was tens of thousands of dollars. Another American clinic will be built to see patients 24 hours a day. It's just one word -- expensive! It costs 18,000 to see a cold. The neighbors around you either drive a BMW or a Mercedes-Benz, and if you drive a Japanese car, you are embarrassed to say hello to people. How much do you have to sell for an apartment like this? I think it's going to cost 2,000 dollars. Two thousand dollars? That's the cost! From four thousand dollars! Don't be too expensive, it's not discounted. You have to study the shopping psychology of the owners. Owners who are willing to pay $2,000 to buy a house don't care about paying another $2,000. Do you know what a successful person is? A successful person is one who buys the most expensive thing and does not buy the best. Therefore, our slogan for real estate is: not the best, but the most expensive".

In "Mobile Phone", he warned people that "that's not a mobile phone, that's a grenade".

"There Are No Thieves in the World" he told people "What is the most expensive talent in the 21st century!"

It seems that every Fung comedy brings with it a multitude of buzzwords that have a profound impact on society.

But it didn't take long for him to bring people the pseudo-Shakespeare's "Night Banquet" that was "noble as a queen, a mother in the world, and a quilt when he slept".

As a result, Feng's movies began to change their taste, became different from before, and became no longer the Feng Xiaogang that people are familiar with and like.

In the past, the main reason why Feng Xiaogang's movies were liked was that he himself pressed his figure very low, and watching his movies many times was like listening to his brother lying on his top bunk bragging about his bull X past, extremely cordial and moving, and at the same time, coupled with the very representative Jing's humor in the movie, and Uncle Ge's poor performance, the theme of his movie was constructed.

But what about Feng Xiaogang now?

His figure has been invisibly raised by the world and himself, he began to raise himself to a height, he wants to become the former Zhang Yimou and Chen Kaige, he wants to tell everyone that he can not only make comedies, but also shoot works with ideological connotation and depth, which can be called classics.

He hopes that one day, he will also be able to be called a master, just like Zhang Yimou when filming "Red Sorghum" and Chen Kaige when filming "Farewell My Concubine".

So he filmed "Night Banquet", although it was very unsuccessful, but he made his own attempt, which made him instantly confident that he could completely embark on the road of master, as long as he corrected the route slightly.

Therefore, he can't wait to shoot "1942" now, maybe in Feng Xiaogang's eyes, he will feel that this is a film that will become a classic, and it will also be a film that will send him to the position of master.

But the question is, can it really be as he wants?

Song Zheng thinks the answer is no!

In fact, a moving movie doesn't necessarily make a good movie, let alone a timeless classic.

After all, if you watch a few episodes of Korean dramas or Taiwanese dramas, sometimes you can't help but be moved by the love of the heroes and heroines in the play.

What's more, is it to bring out the extreme emotions that have arisen from the experience of life and death?

But crying doesn't tell the story.

Even if Song Zheng hadn't watched "1942" in his previous life, he could think that Feng Xiaogang would definitely arrange many sensational scenes in the movie for the audience to cry, and most of the audience would inevitably be very useful.

But the touching and tears can't really explain anything, on the contrary, it is possible that with the repetition of Feng Xiaogang's old tricks again and again, it will lead to the collective rebellion of the audience in the re-making of this type of movie, just like after "Ip Man" became popular in the previous life, the actor surnamed Zhen frantically took on various movies and advertisements, resulting in his own filtering and consumption, resulting in repeated box office failures.

When Feng Xiaogang wanted to shoot "Night Banquet" with a thief's heart, Song Zheng reminded Feng Xiaogang that there was no need to force himself to do what he was not good at for the sake of status and international influence.

Feng Xiaogang is good at citizen comedy, fighting the world with Beijing-style comedy, before Feng's humor and Feng Xiaogang's name have become a unique brand of Chinese films, and he does rely on his in-depth understanding of Chinese citizens, making his comedy full of a sense of the times.

And now, the humorous Feng Xiaogang has to force himself to transform, and playing the deep "Night Banquet" can no longer satisfy him, and even has to bring out a disaster tragedy drama like "1942", which makes the audience who is looking forward to having fun on the screen sob.

Of course, "1942" is not a failure, although it is not very good, and the single page is not a failure.

Before the release of "1942" in his previous life, Feng Xiaogang also had the experience of "Tangshan Earthquake", and gradually matured in the performance of disasters and tragedies, and found a balance between tearful sensationalism and tragic human nature.

In the original "1942", in the face of the starvation of 3 million people who were not inferior to the 240,000 victims of Tang Mountain, Feng Xiaogang's film maintained the same restrained attitude as Liu Zhenyun.

It's just that the disaster of 1942 is shown to people through the lens, and there are fewer pictures of crying at the camera, replaced by gentle and miserable pictures that capture the audience's attention frame by frame, and the picture of Yi Zi eating can sting people's hearts without crying.

Comedy is often associated with vulgarity, and tragedy is often dominated by sensationalism.

In the context of the catastrophe, any director and screenwriter has a reason to arrange one, or even multiple serial scenes of character suffering, to win the audience's sympathy, but the way of exchanging tears for tears is not only cheap, but also hypocritical.

Even if it's not deliberately sensational, the sadness of crying under the roar of the picture rendering sound can still make people feel uncomfortable.

In "Tang Mountain Earthquake", Feng Xiaogang also used crying more than once to create the atmosphere of the film, and "1942" let the audience see that Feng Xiaogang, who used to be pinched hard, has become much gentler.

Under the same catastrophe scene, Feng Xiaogang pays more attention to the setting of the scene, and maintains the cold style from beginning to end, and under the subtle infection of this style, it is easier for the audience to maintain an emotion from the bottom of their hearts, that is, the tragic mentality of the cannibalistic disaster in Henan, and the high-quality feature of the tragedy is not crying but suppression, which is the case with "1942".

"Tang Mountain Earthquake" only took fifteen minutes to explain the earthquake experience, and the rest of the plot is rambling and talking, which seems to be no wonder Feng Xiaogang is hanging on the tragedy and selling comedy, after all, the earthquake disaster happened in so much time.

The famine in "1942" has lasted for a long time, and Feng Xiaogang can express the whole drama this time, advancing the plot with two lines: one is the escape line of the disaster victims, which shows the famine tragedy most directly and directly, and the other is the government's attitude towards the disaster, so as to question the man-made disaster of this natural disaster.

The two lines are staggered and parallel, and a rather grand narrative scene is laid around the famine disaster, with the starving people becoming bandits, the national army oppressing and the Japanese air raids, and under the mixture of many forces, the suffering is deepened step by step, Feng Xiaogang easily pushes the famine tragedy to the tragedy of the times, making the various human nature in this great famine naked in front of the world.

In general, the first 80% of the performance of the whole movie is good, restrained, forbearing, and heavy, telling such a cruel hunger scene in a natural tone, not exaggerating but conveying the sense of suffering of life, and even a few places of Liu Zhenyun-style black humor, embellished with the pain of crying and laughing.

But by the last 20 percent, what Song Zheng was worried about finally happened, Feng Xiaogang still did not abandon the means of sensationalism, and directly tore through the psychological defense line that the audience was still thinking quietly, bursting out tears and hatred.

From jumping off the train on a hitch and finding that he didn't bring millet, to being stabbed in the throat by a Japanese, to the suffocation of his grandson by the rich man, this series of dramatic conflicts pushed the calm and grand atmosphere painstakingly created by the film to a narrow, and what should have been a climax of deepening the theme has become a climax of emotional venting.

Compared with this, another film that responds to the catastrophe "Sandwich Ditch" is more cold and direct, and it is also a disaster theme, "Sandwich Ditch" reflects the incident of a group of "bad" elements starving to death on the farm during the special period of three years.

Although it is far less influential than "Nineteen Forty-two", its objective examination style and non-moral judgment attitude are more impactful.

The performance of a large number of extras makes the roughness of the image closer to reality, and the so-called loud voice, the static display of a desolate picture is far greater than the noisy mixture of language and music.

In this respect, although "1942" is also based on real history, its overly full dramatic narrative style undermines the cruelty of the disaster itself to a certain extent.

Of course, aside from all kinds of shortcomings, "1942" is still worth watching, this is the biggest drama Feng Xiaogang has ever filmed since the film, a large number of group scenes and multi-clue narrative in the film test the director's ability to control, and the final effect of the film also exceeded Song Zheng's expectations.

Like most historical themes, "1942" presents a forgotten past in a low-saturation nostalgic color, and the low-key color does not reduce the visual impact and watchability of the film in the slightest, but brings a rather textured reality to the film.

The highly condensed script in the film also makes each frame of the film rich in information, clues about the victims, clues about local officials, clues about American reporters, clues about Lao Jiang, and clues about international wars.

In addition, the cooperation between Feng Xiaogang and Liu Zhenyun made his movie a little more thick in the temperament of the chicken thief, and the film opened with the landlord's son taking advantage of the famine, which laid the black tone of the whole film that is absurd and not detached from reality.

The script is very capable of analyzing human nature, there is no nonsense in the lines, it has a great effect on the promotion of the plot and the characters, and the description of various social classes also makes it very easy for the audience to understand what the creator wants to express, and combs the huge story in a very orderly manner.

In terms of directing techniques, Feng Xiaogang has also made a slight improvement compared with previous films, and this progress still comes from black humor, which is reminiscent of Jiang Wen's "The Devil is Coming" that paid equal attention to ideology and artistry.

The only difference is that "1942" does not focus on the ferocity of the Japanese army, and the audience sees that the inaction and corruption of the national government are far more infuriating than the two bombings of the Japanese army.

Probably in order to avoid the fate of "The Devil is Coming", the film deliberately rehearsed a scene in which a Japanese officer kills a long-term bolt column, which is neither absurd nor realistic, and is the biggest sound in the whole film.

The two clues in the film are also handled very well, one is the old landlord's escape clue, and the other is the daily trivial clue of Lao Jiang.

In the film, there is a huge difference in class between the two, but their fates continue to intersect, the landlord has gradually changed from hiding from disasters to escaping from famine, and Lao Jiang has gradually become a lost dog from the people's heart.

The contrast of the two parallel threads suggests that the fate of the people and the regime is linked, and Lao Chiang sacrificed the people to resist the Japanese, but was eventually abandoned by the people.

In the previous life, after the release of "1942", some audiences were more repulsive to the black humor elements in the film, but in fact, it was not necessary, black humor, as an artistic expression, deliberately reflected the satirical intention of the main creator, and the core content of "1942" was precisely satire.

The women's initial conceptions of culture, sexuality, and class in the film gradually changed as the famine spread, and the originally decent people gradually lost their dignity and became incestuous and normal.

After the Japanese invasion, the Chinese soldiers snatched the people's materials, which is a true portrayal of national and human nature.

It's a pity that the tragic situation of father-son cannibalism is not visually presented in the film, and only dogs eat people instead, which weakens the tragedy of reality, which is the biggest loss in art.

In addition, the ridicule of faith has been used many times in Feng Xiaogang's films, and the larger one is the church scene in "Do Not Disturb If You Are Honest", which lashes out at the utilitarian heart of faith in most Chinese.

The Chinese priests in "1942" are not firm in their faith and gradually begin to doubt God, and the church seems to be only a refuge for the spirit and the body, because God allows people to save themselves.

The dialogue between the Chinese priest and the Western priest in the film is meaningful, either this is a land abandoned by God, or God himself does not exist.

Faith can bring strength to people, but without food, people's souls will eventually lose their attachment, interestingly, there is no priest in the war blockbuster "Saving Private Ryan", only the church that was blown up in the picture, Chinese and Western filmmakers have different beliefs, but their views on God are very consistent.

The actors' performances in this film can be called classics, and most of the actors in the film are acting schools who have cooperated with Feng Xiaogang for many years, and each leading actor is a master of interpreting inner drama.

With the unveiling of the historical archives, the public gradually has a more comprehensive and three-dimensional understanding of a patriotic old Jiang, which also makes Chen Daoming's interpretation of Lao Jiang more real and credible, and he performed the helplessness and desolation of Lao Jiang in addition to his domineering.

Zhang Guoli, who is the main player, has extremely rich psychological activities, which is the biggest highlight of the whole film, and Zhang Mo's reckless and bloody style of playing against him has also become the biggest highlight of the whole film.

Xu Fan's performance is no longer like a chicken blood, it is better than before, probably the film has a limited capacity, and the character of Feng Yuanzheng's small farmer is not outstanding enough, but there is no lack of joy.

Teacher Li Xuejian's helplessness, Zhang Hanyu's confusion, Chef Fan's reluctance to steal a living, Wang Ziwen's beautiful rebellion, etc., all left a deep impression on people.

The two international superstars in the film, Brody and Tim Robbins, also shine brightly, albeit with few scenes, but enough to make the film flourish.

The costumes, props, sets and other technical departments of "1942" are indeed worthy of an investment of 200 million yuan, and the scenes of the victims of the disaster in Henan are in stark contrast to the luxury of Chongqing Lao Jiang.

The real images bring more shock to the film, the two scenes of the Japanese planes bombing the refugees, although the footage looks a little repetitive, the CG effect is still realistic.

Generally speaking, "1942" is the first film in the "Feng Tragedy" that no longer speaks with a conscience, for such a foreigner does not know, China is accustomed to the famine, the film has also achieved the purpose of throwing bricks and jade to compare a certain period of history of New China, Feng Xiaogang in ensuring the commerciality, entertainment, and watchability of the film, but also relatively objectively restored the history.

It's just that at this moment, when Feng Xiaogang threw this story out to Song Zheng, Song Zheng was a little caught off guard.

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