325 million, this is the total advertising revenue brought by "Birth of a Family" to Mango Satellite TV, the advertisements in between, plus the naming rights, and the income brought by a variety show.

I have to say that there are really a lot of rich people in China, and in order to build brand awareness, those big merchants don't care how much they pay for wine, but they just smash hard.

At the beginning, the advertising revenue of CCTV's golden theater exceeded 100 million, and it was also widely reported by the domestic media, but now, the advertising revenue has exceeded 100 million, which seems to be nothing.

Song Zheng doesn't care how much Mango Satellite TV will gain, he only cares about how much the 1+1 company can get, according to the original agreement, the 1+1 company can enjoy 18% of the advertising revenue, 18% of the 325 million, that is, more than 580 million.

I'm afraid that when Song Zheng decided to make a variety show, no one would have thought that such a variety show would actually bring such a terrifying benefit.

At the beginning, there were still many people laughing at Song Zheng, thinking that he was whimsical, he didn't do what he was good at, and he had to do some variety show, he was just full of food and had nothing to do.

However, seeing the terrifying ratings of the first episode of "The Birth of a Family" and the advertising revenue announced by Mango Satellite TV, I believe that everyone who questioned Song Zheng should shut up.

There's nothing this guy isn't good at!

"Zhengzi, you'll have to treat you later!"

In the conference room of Huayi Brothers, it seems that it has become a simple screening hall today, and the senior management of Huayi Brothers and Feng Xiaogang's friends in the circle have all arrived.

Song Zheng received a call from Feng Xiaogang yesterday, saying that he was going to screen "Night Banquet" in Huayi Brothers today, and as a good buddy, of course Song Zheng couldn't help but come.

As a result, as soon as he came in, Feng Xiaogang still wanted to fight local tyrants, all of whom were insiders, who didn't know that Song Zheng made a lot of money this time with a variety show.

Song Zheng found a place to sit down, and said with a smile: "I'll treat you when I hear something, but I'm here to cheer you on today, you don't care about the meal, you plan to knock on me, and there is no door!"

Feng Xiaogang sat next to Song Zheng and said, "Cheer! I invited you to come, but I didn't ask you to cheer me on, I asked you to find fault with me!"

Fault finding!?

Song Zheng won't take this seriously, as a fart that Feng Xiaogang has been holding back for so long and finally released, if he really dares to say a lot of faults after reading it, it is estimated that the relationship between the two will be broken today.

Adjust the equipment, turn off the lights, and a screen served as a wall lights up.

At the beginning of the story, Emperor Li kills the king, but this plot is not shown, but the clues are obtained through the dialogue of the characters.

Between the dark and deep palace walls, a slaughter was going on, and all the ministers who opposed Emperor Li were executed.

If you just watch the beginning, this should be a very good film, but Song Zheng only watched it for five minutes and knew that Feng Xiaogang went around and around, changed it back and forth, and finally changed it back.

Although there are some differences in the processing of the picture, the context and clues of the story are almost no different from the original version in the previous life.

Lao Feng! You tinkered and drummed, and in the end you dug a pit, a god pit!

In fact, it should be said that Feng Xiaogang still has a lot of ideas when he makes this film, and if you put aside the details of those thunderous people, it can reach at least about 70 points.

The technical indicators are all excellent, and the whole movie, except for the level of lighting, is not enough, in terms of technology, it can almost be said to be quite good.

The main creative team set up by Huayi Brothers at such a large price can be described as good, and all the big-name actors have also performed relatively well, it can be said that it is these people who collectively saved Feng Xiaogang.

The first thing to focus on is the art director Ye Jintian, the brocade clothes are familiar to him, there is no difficulty, and the character modeling is also quite distinctive, which not only highlights the personality of the character, but also promotes the strengths and avoids the weaknesses of the actors.

Although the profound connotation of the so-called alizarin red, which has been infinitely amplified, is suspected of being too deliberate, it is mostly caused by Feng Xiaogang, and it is not Ye Jintian's fault.

The makeup of the International Chapter and the Weekly News can also be said to be impeccable, one is strong and sharp, one is fresh and pure, one is like fire, and the other is like water, just right.

In terms of the design of the scene and lighting, if you simply take apart the storyboard, it does play an important role in setting off the atmosphere of the film.

For example, the prince's art field in the land of Wu Yue, the staggered bamboo building, the detached atmosphere of the white-clothed mask, and the court where the cane is executed, the high bystanders, the awe-inspiring high wall like hell, and the stage in the palace, the lonely dull color, the cold and pale light.

The composition, artistic conception, atmosphere, and momentum are almost impeccable, but unfortunately, these are indeed perfect if they are pictures, but only pictures cannot become movies.

With Mr. Tan Dun, the soundtrack level of "Night Banquet" will naturally not be outrageous, and it turns out that this is indeed the case, the interlude "Yue Ren Song" is full of artistic conception and relaxation, and Zhou Xun's singing is especially suitable for the character of the young girl.

The mask dance in the film that matches the song is also outstanding, and although it seems to be unusual, it is still very moving.

It's just that the so-called Lang Lang's piano performance is just a gimmick, and it is not necessarily unique.

The editing is also at a passing level, and the beginning of the film is clean and neat, except that the narration introduction seems to be a little more drawn, and the timing of the opening insertion is also just right.

The editing of many martial arts dramas in the back is also very appropriate, but I am afraid that these are mostly due to the skills of martial arts instructor Yuan Heping, from "Crouching Tiger, Hidden Dragon" to "The Matrix", Yuan Baye's action design is tangible and intentional, and the aura is seductive.

"Night Banquet" is no exception, whether it is the battle in the bamboo building, the rescue in the snow, or the rehearsal in the palace, these more important fighting scenes have undoubtedly improved the level of the film.

Judging from the proportion of martial arts in the whole film, I have to say that Yuan Baye once again pulled Feng Xiaogang's "Night Banquet" after saving Wang Jing's "Iron Rooster Fighting Centipede", improving Xu Laowei's "Men Should Be Self-Improvement", and achieving Li Yu's "Crouching Tiger, Hidden Dragon".

But apart from those technical factors, as well as martial arts, what is left of this movie?

Analyzed from the beginning, the beginning of the film, which is extremely mediocre, is to explain the background of the story in the way of "oral description and subtitles".

According to Song Zheng's original suggestion to Feng Xiaogang, it should be best to learn from Ivan McRae's method of deciphering the "Holy Grail" in "The Da Vinci Code", and use a short film to review this background.

Obviously, Feng Xiaogang didn't take it seriously at all, and his reason was that this kind of oral method was even more primitive.

After the background recitation, the film gets straight to the point, and it does not use the usual "first book" technique of commercial films, that is, the subplot is used in the first 10 minutes to explain the personality traits of the protagonist.

Instead, the main line is used to bring out each protagonist, and the technique doesn't matter whether it's good or bad, but obviously the personality performance of "Night Banquet", or the way the characters appear, is slightly abrupt, because of the lack of the advance attention of the "first book", which makes the personalities of Emperor Li and Queen Wan a little blurred.

In fact, there is no need to strictly apply the "first book" model here, as long as the background introduction is expressed as the "first book", and a few flashbacks in the form of story fragments, the personalities of each character will be revealed.

Regarding Feng Xiaogang's current treatment method, Song Zheng can only say that Lao Feng has let the blockbuster be rectified, and his head is dizzy, and he can't even grasp the most basic technical techniques.

The parallel editing of the "assassination of the prince" passage at the beginning of the film is very good, on the one hand, the leisurely content of the bamboo forest, on the other hand, the dim and depressed palace, on the other hand, the prince's solitary singing, on the other hand, the charming flirtation of Emperor Li, on the other hand, the dynamic of the fierce battle of the assassins, and on the other hand, the tenderness of men and women.

It's a pity that although Empress Wan has the heart to protect the prince, Emperor Li insisted on eradicating the prince, drawing an imperfect end to this parallel editing.

Here you can refer to "Song Family Dynasty", Jiang Guang has a headache and hates the mother of the Song country, and plans to drive the mother of the country in the market to injure her, but in the Jiang mansion, Song Meiling angrily drank Jiang Guang's head and supported her sister.

In the end, Jiang Guangtou did not show his attitude, and left angrily, here in the bazaar, the car drove dangerously, and there was a false alarm, objectively speaking, this parallel editing of "Song Family Dynasty" is better than the atmosphere is properly controlled, and the ending is clean and neat.

In the parallel editing of "Night Banquet", the contrast between the two scenes is very profound, but the ending is not delicate enough and slightly drags on.

For the murderous rebirth of "Night Banquet", the side plot is of vital significance, but unfortunately, the film has almost no branch line, and it is completely a tendon.

It's like watching a documentary, not an art film, and the single-line plot makes the film's rhythm unreasonable, and at the same time the suspense is lost, and it is even more difficult to get a shocking ending.

If Song Zheng is allowed to deal with it, there will definitely be multiple branch lines extended outside the main line, and the intrigue of the palace will naturally split into different interest groups, and the branch lines should be used to reflect the interests between these groups, and even two or three main lines can be adopted.

For example, in the most simple and straightforward "Lord of the Rings" series, multiple clues can greatly improve the enjoyment of the film, and bring suspenseful plots to the audience through more possibilities.

In Feng Xiaogang's "Night Banquet", the main body is basically a palace conspiracy, which is completely a competition for power and intelligence, and the flaw of "Night Banquet" is also here.

Inheriting the tedium of its single-line plot, the simple and mentally retarded conspiracy design, and pouring a bowl of cold water on the already bland leftovers.

Whether it is Wanhou's poisoning or Yin Taichang's yellow finch behind, they all seem to be stubborn and self-serving, not only despising the enemy, but also despising the audience's IQ.

If everything can be done all over again, Song Zheng must suggest that Feng Xiaogang and all the screenwriters of this drama first study Mr. Gu Long's masterpiece, and then watch films such as "Dark Flower", "Extraordinary Suspects", and "Seven Deadly Sins" to be inspired.

Whether it is the sophistication of the conspiracy, the presentation of the conspiracy, or the rigorous closed-loop of the conspiracy, it is worth learning from people with lofty ideals in mainland conspiracy films.

At the end of the film, the scene where Empress Wan is stabbed must have been painstakingly designed, the assassin has never shown up, and the murder weapon is very similar to Wuluan's short sword, after the assassination is successful, the assassin throws the short sword into the pool, and finally the camera overlooks the pool, here is a long shot with a fixed camera.

This long shot seems to be lengthy, but it is actually very meaningful, when the dagger falls into the water, the floating grass on the water surface spreads out without any regularity, but when the floating grass stabilizes, the pool gradually presents a mask pattern, and soon after this pattern appears, the floating grass moves further and returns to its original irregularity.

This ending seems to imply that it was Wuluan who assassinated Wanhou, of course, Wuluan is dead, so maybe it is Wuluan's henchmen.

Song Zheng really appreciates the good intentions at the end, but in "Night Banquet", it really adds to the picture.

The ending is often the finishing touch of the film, and the ink here is very elegant, with a little less and a bloated and cumbersome point.

Whether the plot point of Empress Wan's assassination can promote the overall plot of the film to continue to sublimate is a key, if not, it is actually better to have one less point!

Because Wanhou is a woman with a complex personality, she yearns for power and is affectionate and charming, and she can really be described as "loving the country and loving beautiful men more".

At the end of the film, it is completely unnecessary for Empress Wan to be stabbed, because she is destined to live a lonely life, lonely and old, at the end, her smug expression can't hide the loss and melancholy at all, what did she get?

For a walking corpse, life or death no longer matters, so why should "Night Banquet" go to the extra mile and plunge a short sword into the heart of a dead man?

In addition, the most critical point is that the idea of the movie, simply put, is the central idea of the movie, which directly determines the level of the film, so what is the idea of "Night Banquet"?

What do you want to convey?

What do you want to leave for your audience?

The film did not give a clear hint, which made Song Zheng feel bored after watching it, as if he had finished watching a farce and left the scene.

If you think about it carefully, what is "Night Banquet"?

This title also seems to be a bit off-topic, from the beginning to the end, it seems that the night banquet is just the climax of the film, not the theme of the film.

And this final scene also lacks inevitability, and it is entirely possible that the climax of the story will occur in the morning court, lunchtime, or on some celebratory day.

Feng Xiaogang himself said that the idea of "Night Banquet" came from "Hamlet", but Song Zheng really doubted whether Feng Xiaogang had really read the original "Hamlet", if not, he really suggested that Feng Xiaogang study it, and then grasp its essence and then conceive "Night Banquet", which seems easy and difficult.

If Westerners are difficult to grasp, then China's "Thunderstorm" can always be, right?

After the idea is clear, all the materials of the film must serve around this idea, and try to avoid the embarrassment of foiling the noisy guests.

But Feng Xiaogang didn't even determine the central idea, and it can even be said that this thing is not as good as a primary school student's composition.

In addition, there are several fatal flaws in the whole movie.

First of all, as a costume film, dance appears at the beginning and end of "Night Banquet", in which Wuluan and Queen Wan also debated the topic of the realm of dance.

However, the introduction of these dance techniques did not promote the development of the plot well, but interfered with the rhythm of the film to a certain extent.

The spirit of these dances is as chaotic as the idea of "Night Banquet", like an untimely cold dish.

For dance, Feng Xiaogang should first consider that most of the audience are laymen, and should simply and directly convey the spirit of dance, and at the same time, this spirit should be relatively unified with the idea of the film, or contrast with each other.

If such an effect cannot be achieved, the dance scene should be compressed as much as possible, and in addition, Wuluan's "mask theory", that is, the dance with a mask, can best test the expressiveness of the dancers, lacking the support of the actual plot, it seems very empty, and it is difficult to escape the suspicion of fake pedantry.

Besides, although the martial arts drama arranged by Yuan Baye is very exciting, but in the whole play, there are too many martial arts, right!?

It is true that there are some battle scenes in the film, such as the assassination of the prince and Yin Falcon's rescue, but this should be an ordinary military fight, and there is no need to put on the coat of martial arts.

What's more, a court drama that focuses on conspiracy shouldn't set up Wuluan and Queen Wan as people in the martial arts, right!?

In the final analysis, in "Night Banquet", kung fu should be just the right appetizer, not a greasy braised pork.

Referring to the fighting mode of "The Lord of the Rings", the protagonists Aragorn, Jin Li, Elven Prince, etc., which is not a sword and a sword to slash the enemy, use military combat instead of the "elegant" martial arts style, don't do light work at every turn, fly the eaves and walk on the wall or something.

These are all hard injuries that directly affect the plot and theme of the whole movie, and some directly challenge the audience's IQ.

In the scene where Yu Linwei chases and kills the prince in the middle of the bamboo city, the group of people who dance and sing with the prince are probably to cover the prince's escape, and in the face of murderous, cold-armored black warriors and cold swords and guns, they actually face the brutal slaughter while dancing a strange dance, until they lie down like withered petals.

These people are all dressed in white and wearing white masks like skeletons, and the best way to cover the prince's escape is actually to run all over the mountains.

Everyone is dressed the same, look at who those ferocious Yu Linwei are chasing, if you deal with it like this, it will be tense, exciting, and suspenseful, and it will not hurt Feng Cannon's tragic original intention at all, it looks more like a blockbuster, and it also saves the prince Wuluan from squatting in the water and holding his breath.

Empress Wan seems to be a bewitching and favored woman, and she knows martial arts very well, but for some reason she has to say that she is a helpless woman.

Her swordsmanship seems to be a little stronger than that of Prince Wuluan, but why do she have to compromise and practice herself?

If she is really dissatisfied, she can take advantage of Emperor Li's unpreparedness and take it down with one sword, why bother to dress herself up as a helpless and helpless person?

Since she can "phoenix eyes", then she has the opportunity to take the head of "uncle", and she doesn't have to be poisoned later, let alone shout "Yin is too long" to help after the matter is revealed.

Please, Tai Changqing is too far away from the emperor, and she can reach Emperor Li as soon as she stretches her arm.

Also, since Emperor Li is determined to get rid of the crown prince, why is there so much cover-up?

Is there really no excuse or opportunity?

In contrast, Song Zheng admired the decisive Li Shimin more, and led the troops to launch the Xuanwumen Mutiny, directly killed his brother, and then forced his father to give way.

It seems that the emperor, who has soldiers and plots to usurp the throne, does not need to be so shy to answer, but uses more direct and harsh means to make the prince's danger more exciting and attractive.

And the crown prince does not seem to investigate who instructed Yu Linwei to bloodily pursue him in the bamboo city, but instead goes in and out of the palace at will without the knowledge of Emperor Li, painstakingly investigating the cause of his father's death, completely unaware of his danger. Until he performed swordsmanship with Yu Linwei in front of Emperor Li and was in danger, he regarded the battle of life and death as acting.

Empress Wan saved the prince at the risk of potentially offending Emperor Li when the prince was in danger, and after "in one sentence", Emperor Li only hastily killed Yu Lin Wei, who was holding a real sword, and left.

The whole plot is inexplicably simple, the blockbuster does not have the momentum and climax that a blockbuster should have, and the plot is full of climaxes and gripping, and the screenwriter seems to be completely caught up in his own babbling.

Also, can you bring a knife when you enter the palace to meet the emperor?

When the Youzhou Festival made Pei Hong sarcastically ridicule the yin for too long, the yin damage was immediately ready to draw a knife against each other, this TM is too fake, right?

Not to mention earlier, there was a strict system in the Qin Dynasty, and anyone who brought weapons to the temple, no matter how good the reason, was a capital crime of killing the head.

Therefore, Jing Ke could run after Ying Zheng all over the ground with confidence and boldly, and almost succeeded, but no one dared to come up to the rescue of the guards below.

Could it be that many years later, during the period of the Five Dynasties and Ten Kingdoms, there was reform and opening up? You can feel free to carry a knife in front of the emperor and kill an important minister of the imperial court?

In this case, if Yin Damage or someone else wants to kill the emperor, can't it be solved by taking a few steps first?

In addition, why can the young girl pass through the many checkpoints of Yulinwei and the Imperial Forest Army, lead a group of masked people into the palace without any interrogation, interrupt the banquet in the palace, and strongly demand to perform singing and dancing programs?

Her dad can't do that, can he?

And among these people she brought, she actually carried a prince with a sharp weapon that she didn't even know.

The most puzzling thing is, why did Emperor Li take poison himself?

He is not in any danger, but the prince is blocked by many Yu Lin guards and is facing a desperate situation, at this time the woman who betrayed him is shouting at Tai Changqing to do it, Tai Changqing did not dare to do it and scolded her sharply, at this time the emperor has been completely invincible, according to the normal logic, the evil forces should come to an end.

Emperor Li was able to poison his own brother, but did he awaken his conscience in front of his nephew?

And then drank the poisoned wine poured on himself by the woman who betrayed him, and the result was really puzzling.

Is there still logic?

Does it still make sense?

Song Zheng remembered that he had told Feng Xiaogang about these hard injuries before, and Feng Xiaogang also accepted them at that time, but after the film came out, Nima all returned to their original positions.

In this regard, Song Zheng can only express his helplessness, and understands very well that although brainstorming is always better than arbitrariness in the literal sense, the director industry is inherently inherently intolerant of others' criticism.

Song Zheng is the same, no matter how good others say, it is useless, his ideas are always the most OK.

Therefore, Song Zheng really has nothing to say about Feng Xiaogang's non-acceptance and stubbornness.

In short, the whole movie is the same as these existing flaws, giving people the feeling of nondescript, Feng Xiaogang is a legend of mainland films, he created the era of Chinese New Year films in the mainland, and achieved a completely different film style from Zhang Yimou.

From "See You or Leave" to "Big Names", from "A Sigh" to "Mobile Phone", Feng's film style has long been deeply imprinted in the history of Chinese cinema, and the value of Feng's humor lies in its realism, marketability, and vulgarity.

But today's "Night Banquet", the previous style has been completely subverted, and the idealism is even stronger, not only the background of the story is far away from reality, but the story itself is also far away from the public.

It feels like the domestic directors have collectively taken aphrodisiacs, holding back their energy and wanting to play deep and highlight their own compulsion.

As a result, there is a strong tendency to rush for quick success throughout the film, such as the opening animation parodying "The Scorpion King", the slow motion of the horses running in the slow motion on location, and the computer stunts of the nine black-robed knights pulling wildly from the entrance of the palace are all copied from "The Lord of the Rings".

International Zhanghe's makeup comes from Star Wars and Japanese films, and this character is also similar to the eldest prince and wife in "Chaos", but unfortunately the performance is too shallow.

The truth show in the middle is a medieval stage play, and at the end, the International chapter is a monologue to the camera, copying Hitchcock's usual direct dialogue on and off the screen.

As if to show how strong the Chinese's ability to imitate is, the lines are chaotic, one will use Shakespeare's language, one will use the now popular sentences, and the other will be Suwen Chinese, the only thing that is a little new is that the person is not a ghost or a ghost zombie dance, danced twice, and the second time I watched it was very boring.

When watching the movie, Song Zheng even kept thinking of Akira Kurosawa's "Chaos", a classic, also adapted from Shakespeare's play, which is also a big production, but the difference is not a little bit.

"Chaos" shows a war maniac who is old and reflects on the war and is retaliated by the war, the movie, the plot, and the story are all thinking and interpretation of people, and the development and deepening of Shakespeare's play, while "Night Banquet" is just a vase.

However, speaking of which, the current version of "Night Banquet" is still better than Song Zheng expected, at least it can still be read patiently.

It's a pity that for a director like Feng Xiaogang who is good at stories, the assignment of "Night Banquet" seems to be a bit too arrogant, and he deliberately lost to himself to a large extent.

In such a film that cost 20 million American swords, Feng Xiaogang seems to be flattered and has abandoned what he is best at for the sake of transformation, which is really disappointing.

Although, compared with the absurd story of Lao Mouzi's twisted "Ambush on All Sides", "Night Banquet" is clear and reliable from the background to the characters, but a nondescript "Hamlet" is not enough to save this simple and superficial Chinese court story, not to mention that Shakespeare is thousands of miles away from the Five Dynasties and Ten Kingdoms.

After all, Feng Xiaogang has never served as the leader of such a big drama, and his control of the entire situation seems to be more than immature, and the highlights are limited.

If in the previous telling of the short story, Feng Xiaogang's brilliant ghost wit can add countless finishing touches to the film.

And a big story like "Night Banquet", in addition to the grand scenes and many synthetic characters stacked with special effects, Shengsheng was told by Feng Xiaogang as a battle between several relevant members of a family.

The whole story is just that A kills B and wants to kill C, but D disagrees and kills A, and C eventually dies and is buried with E and F.

To put it bluntly, although the pattern is large, it is still a small story in the final analysis, and the setting of the relationship and characteristics of the characters is quite traditional, with no mistakes or accidents, and it is precisely because of this that each character is portrayed as weak and mediocre.

Emperor Li's feelings for Empress Wan, Wuluan for Qingnu, and Empress Wan's feelings for Wuluan were all flashes of inspiration at the end, which was both abrupt and unconvincing.

If it weren't for Uncle Ge's profound skills, the roles of the rest of the actors would be suitable, and the abrupt side would be even more magnified.

Of course, Sect Leader Huang's performance can be said to be a complete failure as always, and the image of a brave and gentle brother has been completely destroyed and subverted by him, and he has become an ambiguous and unscrupulous hooligan.

In a word, Feng Xiaogang did it because he didn't want to be Feng Xiaogang anymore, so he did this, and the so-called was too much.

And even if you ignore the countless bugs in the whole movie, as a movie that tells a small story, "Night Banquet" is still a complete failure in terms of narrative.

The so-called night banquet should focus on the second half of the feast, and the previous chatter and chaos have almost completely diverted the audience's attention.

If it weren't for the poisonous death of the young girl after the song and dance, I'm afraid I don't even know where the final high tide started.

The originally thin story, after being stretched and flattened, swaying left and right, and being forced to deform and weaken, also added too many grand and illusory scenes and dazzling martial arts, which completely diluted the impression of the story itself and destroyed the due suspense.

The small high tides in the middle of the film are purely visual effects, not dramatic conflicts, and further defeat Feng's ability to tell stories.

This can prove that if there is no Yuan Heping's dazzling martial arts scene, Feng Xiaogang's "Night Banquet" will only stay at the level of middle school graduation.

This movie, which costs a lot of money, is like a sexual relationship, although it is complete, but it is by no means unfinished.

The long and dreary pre-play finally went to the substance, and the final climax was not yet the time for a song to be sung.

Therefore, Feng Xiaogang is like a barely qualified sex partner, but it is definitely impossible to become a long-term lover who goes to harmony together, and a one-night stand is just that.

In addition, the most unbearable thing for Song Zheng is, which bastard company made the long-term palace and imperial city in the film?

Moreover, the three-dimensional rendering is indiscriminate to the extreme, and the light is not right, and it is dirty and pretending to be a cloud and mountain fog cover, fooling the stupid boy!

In short, after watching "Night Banquet", Song Zheng's first feeling was that it was not as bad as he imagined, but it was definitely not as good as Feng Xiaogang himself said.

It gives people the feeling that it looks okay and eats it, but it tastes like Korean food that is tasteless!

Feng Xiaogang's "Night Banquet" is not as Lao Mouzi said, "every Chinese director has a 'martial arts complex' in his heart", because this is not a martial arts film in the first place, but a court drama.

From a deep creative psychological point of view, Feng Xiaogang seems to be explaining to people: "I am not a shallow 'public', I can also play elegant." ”

But the result was not good, and it reflected a word of boredom!

This word seems to be unrelated to Feng Xiaogang's film works, but "Night Banquet" made Song Zheng feel habitually dull, this kind of dullness from domestic costume blockbusters has always been permeated and continued in the works of great directors.

Starting from the initiator Zhang Yimou, the obsession with costume blockbusters has almost become an infectious disease, but any first-line director must get involved in costume blockbusters, otherwise he will be sorry for the name of this great director.

The signs of a large domestic syndrome seem to show no signs of stopping, and the symptoms are intensifying.

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, in a tragic story with a huge structure, it seems that the cleverness loses its original role, and instead brings the opposite effect.

Song Zheng tried to avoid laughing when watching "Night Banquet", so as not to anger Feng Xiaogang who was sitting next to him, but there were still occasional unbearable things, what was the problem?

If you think about it, part of it is because of the influence of the habitual thinking of Feng Xiaogang's movies in the past, including the familiar tone of Uncle Ge, the royal actor.

Uncle Ge, the Cannes actor of the year, has undoubted acting skills, but the chemistry between him and Feng Xiaogang is a different effect, maybe it may be better to change the actor.

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

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.

Feng Xiaogang himself 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, the Japanese dramatization of Bushido's disembowelment and dance, how much does these make up for the film, and how much of its own cultural core is under the shell of Chinese costumes.

Since Chinese blockbusters love to learn from Akira Kurosawa, then you might as well really 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 scroll of Japan's Warring States period without many traces of Westernization, but Feng Xiaogang's sometimes literary and sometimes secular style expressed in "Night Banquet", it is difficult to establish the characteristics of the basic culture by imitating and piecing together a variety of exotic cultures, making it difficult for people to read much historical taste, and the picture can only achieve the same shape.

You can borrow a framework, 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 ability to tell stories is stronger than that of Lao Mouzi and Chen Kaige, and the development of the film's story is still smooth and complete most of the time, compared with the mistakes of "Ambush on All Sides" and "Wuji", the story of "Night Banquet" is more 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 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 not enough, and in the end, the emperor's death brought the audience abruptness.

Of course, compared to the blockbusters of several other big directors, "Night Banquet" can be regarded as 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 available 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.

And Yuan Heping, Ye Jintian, and Tan Dun, who have won awards in Hollywood, have become an organic part of blockbusters, and they always come and go.

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

Many of the action sequences in "Night Banquet" seem to be unnecessary, for example, it is stupid 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.

The fact that all the existing action scenes are as gorgeous as possible actually weakens the film's sense of gravity as a historical tragedy, and the film is full of frivolity.

And exposed erotic shots appear quite frequently in blockbusters, but Song Zheng also has doubts about the meaning of the existence of these shots, is it really necessary for erotic places to appear in the film?

How does it affect the development or advancement 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.

A common disease of domestic blockbusters seems to have also infected Feng Xiaogang's body, this disease is often to complicate a simple story, so as to complicate it mysteriously, and then impose a great connotation, and the form and thought often seem incompatible, I don't know whether it is too much reliance on form and ignores enough foreshadowing, or the original preparation of the foundation is insufficient, and the works presented in front of people's eyes are full of emptiness and vanity.

After the movie ended, the conference room was exceptionally quiet, Song Zheng didn't realize this, and took the lead in letting out a sigh!

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