Historical movies, especially if you want to tell serious history, then truth is a must.

When Qiao Feng invited Spielberg to shoot Jinling Thirteen, Spielberg refused at first, and the reason for his refusal was that he felt that he was a foreigner who would not understand the suffering of Chinese and could not empathize, and he thought that a Chinese director could shoot such a story well.

However, it is a pity that until the time and space before Qiao Feng's soul pierced, no director could really tell the tragic stories that happened in Jinling City.

Regarding the Jinling Massacre, there have been a lot of TV movies, but if you want to talk about it, Qiao Feng knows only two movies that have a relatively large influence, one must be the Jinling Thirteen Hairpins of Lao Mouzi, and the other is Jinling, Jinling!

But it's a pity that the movies of these two people have a lot of problems in Qiao Feng's opinion, and many places are too taken for granted.

As Spielberg pointed out, a group of Japanese soldiers led by the Japanese army forced their way into the church even after strong resistance from Father Ingelman, and they asked the choir girls to sing for them in the barracks in the name of celebrating Christmas.

At this unavoidable moment, a group of "special women" led by Yumo stepped forward, a total of thirteen of them, under the cover of night, each of them with a certain death heart, carrying a hidden weapon, successfully followed the Japanese army for the girls who were still in their infancy.

In Lao Mouzi's movie, they die generously.

But how is it possible, whose life is not life, and prostitutes do not spare their lives? Is it because their lives are as cheap as grass?

It's so fake.

It's too righteous, it's too great.

Is there such a person?

Yes.

Of course.

But to say that thirteen people are like this, they are all righteous and majestic, not to mention that they can't be trusted by others, even the screenwriter himself may not believe it.

In Yan Geling's other extended version, which Spielberg thinks is more reliable, this paragraph is very different.

Only Zhao Yumo was righteous and awe-inspiring: "Let's go with the Japanese." Keep the students behind. ”

In addition to her little attendant Hongling's willingness to go with her, Yumo's proposition was strongly opposed by other sisters, and finally Yumo had to use the prestige of the prostitute leader and scolded them to "wake up":

"Okay, there is a kind of you who will hide here to the end, occupy other people's territory, eat other people's rations, and watch me drag those little girls away to harm! Who are you hiding to leave it to?

She is now like a spicy village woman, and she has been scolded several times when she says a word, but she is not sure who she scolds. "Hide it, hide it until you are reincarnated, reincarnate a good child, and be a schoolgirl too, and let the cheap ones come to give you a dog day!"

The snack worked, and the prostitutes quickly "resigned themselves to their fate and meekly fell silent".

Reconciled!

It's still as cheap as grass.

But it's completely different from the previous impassioned.

They don't think that their lives are as cheap as grass, so they are generous and majestic.

And just because I feel that my life is as cheap as grass, no one will care, anyway, it is already an unclean body, who is not to give, who makes his life cheap, to live in this world is to suffer.

One is to die with a sense of mission and with the idea of saving people.

One is that living is sinful anyway, and life is better than death, and it is not that the sorrow of death is greater than the death of the heart.

Of course, this kind of thinking is more than one place in Lao Mouzi's movie.

At this point, Yan Geling is already unrealistic enough, and it turns out that Lao Mouzi is even more exaggerated than Yan Geling.

Yan Geling deliberately portrays the prostitutes' yearning for the identity of "female students".

Twenty minutes later, the kitchen door opened, and a group of young girls in black sailor skirts and black top hats came out, their faces slightly drooping, their breasts held like angry virgins, each with a Bible songbook under his elbow. They are the most beautiful group of "female students" in Nanjing."

That's what I imagined, because the schoolgirls were a dream to them, and they pretended to be schoolgirls according to their dreams, so they added the beautification of dreams." Yan Geling once described it.

But in fact, at the critical juncture of being humiliated and damaged, who cares about the daughter body that he once had? It was just a distant and miserable childhood dream.

However, in Lao Mouzi's movie, the "student dream" was exaggerated again.

Think about it: If you knew that you would be on a dark and cruel road to hell after dawn, what would be churning in your mind tonight? Would it be the joy of finally being a "schoolgirl" or the fear of the humiliation and mutilation that was coming?

Obviously, in Lao Mouzi's heart, the prostitutes' expectations of being students far outweigh the fear of humiliation and cruelty: newly cut hair, solemn new clothes, bright smiles, and a long and graceful song "Qin Huai Jing", the wide-angle lens pulls out twelve beautiful women who are gorgeous, swaying, and graceful.

Yes, they are so beautiful, so gorgeous, as if the dawn of darkness will never come, they will always be the most beautiful women on the Qinhuai River, and the bloody mutilation and sacrifice they suffered were indifferently ignored by the audience, quietly forgotten by history, and decades later were picked out of the dust of history and became a consumer product.

Qiao Feng couldn't believe that such a movie could really touch the war scars on the hearts of Chinese.

Schindler's list is why it's a classic and why it's great, because it tells an objective story and shoots it objectively.

After reading it, people will think that such a story has really happened in history, even if some of the things in it did not happen when Schindler rescued the Jews, it must have happened somewhere in that background, at some point.

Artistic processing is naturally essential, but if it is just the director's own assumptions, it is really difficult for the audience to convince themselves to believe the assumptions expressed in the film.

But whether it's an old man or a string, they like to do it like this.

In this regard, masturbation is more excessive than what Lao Mouzi does.

He actually came to show his neutrality and objectivity in a fictional, self-made little devil character.

In a story about the Jinling Massacre, which takes place in the Chinese in purgatory on earth, the first protagonist who runs throughout, has the most ink, and is the most three-dimensional and rich, is actually one of the little devils who is the invader.

And it's not about the beastliness of the little devil, but about showing his kindness, his humanity, his reflection on war, on the massacre.

How?

You're a good virgin.

Are you trying to tell all Chinese that not all the devils who carried out the Jinling massacre are bad people?

Do you think there are good people among them.

So we can't beat them to death with a stick, we are scolding the little devils, and when we remember this matter, we must look at it dialectically, and we must distinguish that there are good people among them?

This is not neutral.

It's the ass sitting crooked.

If there really is such a person, it is based on a real person, then don't say anything, that person is a really good person.

Just like Schindler's list, what Schindler did, and the people he saved, in the movie, basically happened in that time period.

Even Schindler's List movie was made by the Jews themselves in honor of Schindler and in gratitude to Schindler.

But what about the brilliance of humanity in the movie, the good guy Kadokawa?

There is no such person, and there is no such person or thing.

Made-up.,It's all made up by my own mother to think about people for the better.,Show that you're not sitting on the ass.,I'm very neutral.。

But precisely, such a so-called neutrality is the ass sitting crookedly.

Qiao Feng didn't want such a thing to happen in a movie he led.

In this matter, he believes in the bystander Qing.