When we didn't hear of "Assembly", we would only think of the part about Qin Xuan's war in "Soldier Assault". There is no doubt that Qin Xuan's description of the war is still the center of attention in the hearts of fans. Too much attention is paid to foreign production teams, and people are too entangled in the technical details of the production. To tell the truth, the production level of the war has only just broken out of Asia, and it is not yet world-class. Visual spectacle is not Ning Hao's focus, but visual effects are definitely a special state, and it can be said responsibly that it far exceeds the domestic level, and it is not a technical level compared to previous domestic war movies. We'll get into more detail later. And don't take Hollywood's big productions as the standard, because our industry can't make a Cadillac yet.

The color and texture of the picture are very special, and I have always talked about it like "Saving the Soldier", but I think it is different. The picture of "Saving the Soldier" is very delicate and delicate, but "Assembly" is just a little darker in color and grainy in texture. If I have to say something, I think it's like the style of "300 Warriors", where the smoke and dust in the artillery fire are flying, as if the grains are clearly visible. There is no long shot that is popular in war movies now, and more shoulder-mounted or hand-held cameras are used in battle scenes, and the battlefield observation is completed from the subjective perspective of Gu Zidi. The editing is fast, which is obviously a benefit of a lot of camera shots. There are very few performances of large-space combat, not necessarily evasive technical production, which can be a technical trick, and the cramped vision deepens the tension and pressure.

Don't talk about technology, don't talk about strategic thinking. Foreigners said that this was an anti-war movie, and it seemed that they were more in love with the Gang. All war movies are actually talking about anti-war, no one likes to fight, and in the past, the soldiers who were happy when they heard about war seemed to be playing CS.

Ning Hao's soldiers screamed when they were wounded, cursed when they charged, killed prisoners when they were impulsive, and happily divided things when they robbed the enemy's equipment, and we saw a "reality show". In the past war movies, our army always died very bravely, one person killed more than a dozen people before they died, according to this logic, we only need 400,000 enemy troops. Ning Hao let our army fight dozens of people and 71 people died, and when he held his position, he only emphasized his own death, and there were many deaths that did not rush to raise his gun.

In the past war movies, our army was more handsome than the enemy, and the enemy fought like a mouse, and our army was not afraid of bullets. Ning Hao sorted out the enemy's military appearance and trained our army's concealment skills. These are just the surface, Ning Hao's troops finally have a real problem, in the past, our army seems to have never been scattered and unable to find a team, and no one can prove that they are the People's Liberation Army.

We have finally seen what it is to be in the age of war, and we know that there are too many deaths to record, and it is important that we read about the impact of death on the living, and that for the dead, the mission of the living is not just revenge. We always say don't forget the sacrifices, but the real pain is in the face of those nameless dead, and even the comrades-in-arms who can't confirm the life and death, we have nothing to remember. This is the most neglected pain of war.

Another began to comment.

"Guzidi" is a person's name, the commander of the 9th Company of the 2nd Battalion of the 139th Regiment of the 2nd Independent Division of the Central Plains Field Army, the protagonist of this film. The movie depicts him leading 47 brothers to fight on the battlefield and snipe at enemy troops 100 times his size......

It is said that the idea of the movie came from "The Lawsuit", but "The Lawsuit" was taken from the true story - an old man living next to a military academy, watched the cadets go out of the exercise rain or shine with the assembly number, and he sent away batches of cadets over the years, until one day the graduating cadets asked him curiously, and he said that he had been looking forward to returning to the team all his life, and his soul was haunted by the assembly number and his dead brother...... When you understand this, you will find out what Feng Xiaogang is doing? It seems that Feng's film is about to turn a new chapter after 10 years. is no longer a conventional cross talk movie, but chooses a true story and uses a real power to move people, and I was just moved.

"The Assembly" is not "Saving the GI" at all. But it does faintly flicker the shadow of some domestic films. Like them, "The Assembly" is very manly, explosive, and the valley makes the audience's blood gush, and the earthworm-like scar on the right side of the face is like a flagpole that is still heroic in the war, erected on the hearts of every audience.

From a certain point of view, I suspect that the movie veteran Ning Hao himself is Gu Zidi, the commander of the Ninth Company who justified the names of the 47 brothers in "Assembly". He has always wanted to "correct his name", but the object he wants to save is a Chinese-style blockbuster, a flashy carcass wrapped in violence, extravagance, authoritarianism, and empty brocade clothes. He himself was unconsciously obsessed with it. If no one recognizes these piles of images as martyrs, they can only disappear from film history and become cannon fodder buried deep under the coal heap.

Some people say that Yin Li's "The Ballad of Yunshui" made the main theme into a genre film, so Ning Hao made a commercial film into the main theme, at least a main theme under the packaging of a commercial film.

In fact, there is nothing wrong with this, making movies is to make money, and the problem of propaganda strategy belongs to the technical link, if everyone can rush to the main theme movies like they treat imported blockbusters, the leaders who focus on ideology will also be blinded, and China's political ideology and moral education will also reach a new level. The key is what kind of philosophy this theme is instilling.

I don't know of any other country in the world that can make such a film with the support of official public opinion to exaggerate a fratricidal war of its own people with eulogies and playfulness and attitudes. Watching such a movie cannot arouse people's true sense of national pride and collective honor, let alone any heroic complex.

Excellent war movies are all anti-war themes, in "Rally", do we see it?

The propaganda of "The Assembly" has always been based on a realistic depiction of the brutality of war as its main selling point. Our soldiers are no longer in such a hurry to die in battle as they used to, they are also afraid of death, and this humanistic consciousness, which is decades later than the West in Chinese war films, has nothing to be proud of.

Ning Hao invited foreigners to make war stunts, and the war scenes were indeed more impactful than before. But technology can't replace imagination, can't replace scene scheduling, so we see the monotony and mechanics of the war scenes in the movie, with a little visual impact, even the rhythm and foreshadowing are gone, and after a few rounds, we are already aesthetically tired. Who wouldn't pile up shots? What else do you want Director Feng Da to do? I can't imagine what kind of physical devastation "Assembly" would have caused to the audience if the three-hour war scenes like "Saving the Soldier" had been continued. "Black Hawk Landing" is a standard American main theme war film, which is also a breakthrough and rescue in an encounter, highlighting the spirit of sacrifice, to put it bluntly, it is playing N ways of death, and the shock in it is not just by bombing eyeballs, but by full dramatic tension and character of the characters, and what about "The Assembly"?

So on the contrary, the drama in the later peaceful era feels much more natural, and the director who can shoot such a scene can easily catch it in China, which is Liu Heng's credit. You advertised for a long time under the guise of a war movie (on TV, you were asked to tell those actors how to shoot the war scenes, how much they suffered and how many sins they suffered), and then only let us watch half of the war movie, you are too good at playing! I know that you are learning "Saving the Soldier" openly and "The Banner of the Fathers" secretly, but unfortunately you have learned a little bit of it. At least in terms of narrative structure and perspective, can't you pursue it a little? Don't make such a sandwich, have you read "Rashomon" in vain?

I admired Ning Hao's ability to create a collective sexual obsession, so many people walked into the cinema under the temptation and walked out as if they were hypnotized, full of cheap touches and inexplicable passion, but I clearly saw some people with a sly smile looking down on these viewers who paid money and time. The Chinese audience is really cute, comparable to the Chinese fans of the past, they are too easily satisfied, too easily swayed, and have no ability to resist in front of a group of movie speculators.

Facts have proved that Ning Hao can not only make sketch-style New Year movies, but also blockbusters, and facts have also proved that Ning Hao's blockbusters can be made better than domestic ones, at least not so rubbish. But does being richer than a beggar prove that he is rich?