I don't know if the screenwriter of "Lost: The Ninth Eagle" has heard of this story. In the film, the sacred significance of the Roman eagle emblem is no less than the Han Festival, which Su Wu defended for nearly 20 years. It symbolizes courage, glory and the Roman Empire itself. But the two stories themselves have a deeper coherence. The Roman Empire and the Han Empire were two major civilizations that co-existed on the earth at that time. Their respective symbols were lost in the wild places far away from civilization, and they both required the sacrifice of their respective subjects, whether it was a long twenty years, Or blood and life. The clash of civilization and barbarism—the clash of different levels of productivity and values, the film inadvertently touches upon these grand and thought-provoking propositions.
So from this point of view, the theme of "The Lost: The Ninth Eagle" is still very deep, plus the fighting scenes that have always been indispensable in this type of film, especially the beautiful big scene of the Roman legion phalanx , it seems that this is already a success. However, this film did not meet the audience's viewing expectations well and meet the audience's viewing needs. This is probably a production cost issue. If the light is directed at the heart-warming story background of the Lost Ninth Legion, I believe the film will disappoint these audiences to a certain extent. The battle scenes in the film are really lacking in notable points. For example, in the night battle on the city wall at the beginning, the audience can only see swaying figures and a few barbarians with disheveled hair. In addition, the camera shakes very strongly. Looks very messy. And the head-to-head confrontation on the second day was equally unremarkable. The Roman Legion phalanx was originally expected, but it was actually a bit regrettable. The 50-member phalanx was more like a group fight.
These two scenes seem to have exhausted the production budget of the film, and then the protagonist, the young centurion Marcus and his rescued slave Escar, set out on a journey to find the imperial eagle emblem. As the two walked out of the Great Wall guarded by the Roman legions, the big scene that the audience had expected came to nothing. There is an unforgivable flaw in the film, that is, the two have stirrups on their saddles. We can only think that the director did this to make it easier for the actors to ride horses and protect the actors' safety. If the ancient Romans really had stirrups, then it is estimated that the whole of Europe belonged to them, the Germanic Vandals, a few teams of cavalry can smash them to the bone, remember that in "Troy" It is very good to restore details of the cavalry at that time.
They finally found the tribe that collected the eagle emblem. The director probably wanted the audience to be curious. The men in the tribe were hideous, painted with unfathomable paint, and had an animal skull on their heads. They were really powerful and looked a bit barbaric, but the girls in the tribe didn’t have that. Dressing, still maintains the natural original ecology, well, we can understand that the barbarian tribe is still in a primitive patriarchal society. But then, a few girls actually fell in love with our protagonist, a promising young man from Rome, the largest city in Europe. It is said that over the years, the aesthetics of the girls of the tribe must have been shaped by the strangely dressed barbarians, and they should be surprised when these two neatly dressed Xiaoshou, without headdresses and without paint, are suddenly there. He actually sighed "really handsome", and one can imagine why the men of the tribe wanted to hunt down Marcus and Escar after they retrieved the eagle emblem: he worked so hard to endanger his health to dress up like this. Virtue, the most shrewd girl in the tribe actually falls in love with an outsider, can this not make people angry? But having said that, Marcus's linen outfit is really stylish, and if someone tells the audience that this is the latest style from Paris Fashion Week, I believe they will not be too surprised.
But the biggest shortcomings of the film are not the above, the paleness of the characters and the storyline is the biggest problem. The male No. 1 Marcus is purely a Gao Daquan image in the seventeen-year literature of New China, a symbol used by the director to carry the theme of the film. He is determined to retrieve the eagle emblem that symbolizes the honor of the empire, and restore the honor of his father and family-I say young man, you are still in the best years of your life, why are you full of such grand propositions, you can't think about it Want something else? The male No. 2 Escar is relatively successful in his portrayal. Although he is a Briton who was treated as a slave by the Romans, he is loyal to Marcus, and this conflicts with his Briton identity. But the writer's way of expressing this contradiction is quite ordinary, such as in the fight scene when they travel, Iskar spares the young barbarian warriors who attacked them, and when they get the Eagle Emblem to witness them leave children. It's not bad to leave one of these two episodes alone, but it seems repetitive if you put two of them, and here I will complain that the two children he planned to let go have died in the end.
Even if "The Lost: The Ninth Eagle" is a film that did not receive much investment, a good film is by no means the same as a big production film. It is said that sci-fi movies burn money. Last year's extremely low-cost "Monster" was a masterpiece. It turned a story of escaping from aliens into a road movie to find your true love and yourself on the road. "Lost: The Ninth Eagles" is a movie that can be guessed at the end just by looking at the introduction. Since you want to make it into an action movie or an epic movie, you should invest a lot to make the war scene bigger and better. Please invite a few cows. If a forceful action director designs several awesome action scenes, then there is nothing to say. Or if you want to take the literary route, then hire a good screenwriter to write a good script, write a conflict between civilization and barbarism, or simply play a postcolonial critique like Conrad's novel "Heart of Darkness" also. I have an idea. In the scene where the protagonist finds the eagle emblem, knocks over the druid god stick with the antler helmet, takes off the helmet, and wants to kill him, when he suddenly finds that the old god stick is actually him. Twilight's former Ninth Legion commander, his dad - hey, this is so awesome, it's like an ancient Roman version of Star Wars.
Although this film is called by me the Roman version of Su Wu Shepherd, it does not have the appeal of "no rhythm and Li Sao" in "Historical Records", obviously. In the final analysis, the positioning of the film is not clear enough. The director obviously wants to go the action movie route, but he can't come up with a decent scene to satisfy the audience. If this film can be defined as a drama, then I think the theme of "The Lost: The Ninth Eagles" should have a lot of brilliant and interesting places to explore.
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