2. At the same time, I have to admit that the viewing of this film is inevitably affected by many factors outside the film. I haven't paid much attention to and reported it on the front line of Cannes, and no one has even mentioned Luo Hongzhen himself and the film's information for a long time. I have secretly accumulated a lot of expectations for this film during the blank period of nearly two years. In addition to the announcement of the cast lineup, although it is a little regretful that there is no old partner of Jin Yunshi and Ha Zhengyu, Huang Zhengmin and Qian girl are both actors of heart water, and their appetite is naturally higher. Afterwards, the exaggerated impressions of some famous film critics in Cannes were widely circulated, and the index of blind, eager and morbid expectations that I bred for this film has been adjusted to the highest. Then there was a downward trend. The main reason was that in the post-Cannes period, with the continued popularity of the film's reputation, the resistance caused by excessive Amway emerged spontaneously.
It stands to reason that this series of psychological changes should not affect and participate in the viewing and evaluation of the film, which is unfair and violates the minimum viewing standards.
However, how to say, the narrowness and ignorance of human nature is like this, knowing that it is wrong but unable to control it.
Next, with these unavoidable off-site factors, try to talk about the personal experience related to the film as much as possible:
3. In my heart, Luo Hongzhen's training of actors has always been an important part of my admiration for his films. Ha Zhengyu and Although Kim Yoon-seok and Kim Yoon-seok have both outstanding performances in other Korean films, you have to admit that the works that maximize, shape and release the screen charm of these two actors are still from Luo Hongzhen's hands. According to this logic, Huang Zhengmin and others should not be a problem. (Although to be honest, when the first version of the trailer came out, I didn't have the same strong excitement and certainty in my heart as before.)
In "The Cry", Luo Hongzhen seemed to be possessed by Wang Xiaoshuai, except for Xiaozhen's actor. In addition, the other three leading actors, including many supporting roles, did not really integrate into the roles. Perhaps they were over-prepared and over-censored collectively. They wanted to put the script on their faces. Look patiently" expression, the natural smoothness in previous works is gone. It is especially obvious that the first scene of each leading role is obvious, and the feeling of diaphragm is obvious.
If my memory is correct, Luo Hongzhen's reputation in the Korean film industry is famous for being perverted and harsh, and he even had a bad relationship with some of his collaborators. During Cannes, he and Ha Zhengyu from the "Miss" crew did not "pass by and let go." Fart" ("Deadpool" lines). I personally think that this habit is common among many art creators. No matter how paranoid they are in private, they often become a boon to the audience when they are put into their works. But this time it obviously didn't work. Seeing the three leading actors smiling so brightly on the set, I guessed that Director Luo might be more restrained or gentle this time. (Just kidding)
4. In an interview in Cannes, Luo Hongzhen talked about his dissatisfaction with "Yellow Sea", saying that it took 11 months to shoot and 40 days to cut it out, and he didn't sleep well for three years. Feeling, from this we can see that he is still a perverted masochistic super perfectionist physique. This time, he should have made sufficient preparations and came up with his works relatively calmly in all aspects. It can also be seen that he has made obvious adjustments and changes in the style of his previous works in all aspects. Subject matter, rhythm, shooting, etc. In fact, in my eyes, there are two kinds of authors that I admire very much. One is that they always stick to their own style and become more and more perfect; Take this as the premise of a bad review. To put it simply, you can't kick an author out of the game in advance because his pursuit of change has impacted your aesthetic inertia and expectations. Therefore, no matter what kind of adjustment Luo Hongzhen's works this time, I first respect and delight in mentality.
5. Next, spit out the rude layman.
A. The dispute over under what circumstances should a movie be asked to use "storytelling ability" as a yardstick has been going on for several years. My own simple judgment is that genre films should at least use this as a yardstick. No matter what tricks you want to play with the narrative, a good script will eventually do it. I don't see this movie.
B. Compared with Luo's previous works, the changes in the lens of this film are obvious, the foreplay is long, and the long-term view is increased (the filter becomes small and fresh, and there are a few points of Michael Lee and "Barry Lyndon" style), The fast cross-cuts and close-ups of character movement, which he is best at, have been drastically reduced, and the parts that appear in the film are still more pleasing to the eye.
C. In terms of subject matter, it no longer involves explicit socio-political categories. The whole script is suspected of being superficial and superficial, but it is burdened with too deep metaphorical reality. There are signs of disconnection between the two. In fact, I personally think this is the most regrettable. The advantage of Luo's first two works in the script was abandoned because of this. In fact, the horror genre itself has a relatively large risk, which means that it is necessary to control ghost movies at the same time. The grotesque and suspenseful logic of the novel, the intensive author's personal religious thinking, and the metaphysical and metaphorical dimensions of historical colonization, the difficulty can be imagined. But on the other hand, it is undeniable that Luo may be transitioning in the direction of a more author-made film, so this film has no more concerns about the acceptance of a large audience. From this point of view, this series of changes can be regarded as an experimental and bold attempt. If the future can better bridge and control more stylized creations, it is the only way for staged transformation. If you just keep going forward, the audience's aesthetic fatigue and the mediocre tendency of the author's directing level will also follow.
Finally, among the many wars of words about "The Crying", I saw that the one pushed by Mr. Wen Bai on the public account was more in line with my perception.
I hope Director Luo will sum up more, the more you shoot, the better. If possible, you should find an old partner to cooperate. After all, after this triangle is dismantled, it seems that none of the three have produced better works. Of course, this is just a fan expectation, and there is no need to force it.
Also, please ask your Han Yingchui to properly control his inner power. I personally look forward to Han Ying's good development, but your blowing method is simply poisonous milk posture, harmful and useless. When any benign culture spreads over the fire and becomes a strong Amway, it will cause unstoppable resentment, commonly known as "praise and kill". Everyone knows this truth. This time is a lesson. In the future, we should try our best to avoid the influence of off-site factors when watching movies. As far as I can remember, only one of the frontline reporters in May this year gave the film two stars. There is nothing to question about personal tastes, and others have no position to criticize the platforms they run in the self-media era. They still only suggest that the film critics should moderate their love and hate. After all, your self-media will affect a large number of readers behind you. (I didn’t say this, I shouldn’t have said this.)
After Luo Hongzhen, the director of “The End” is also worth looking forward to. This year’s new work “Tunnel” starred Dou Wentao and Leung Ka Fai. My Korean brother, Mr. Ha Jung-woo.
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