After Cardamom died, my girlfriend and I couldn't continue watching and chose to leave. Later, when I got home, I couldn't bear my girlfriend to watch it again, so I downloaded the gun version and watched it. After reading it, the block in my heart is more uncomfortable and disgusting than smoking a whole pack of 20 cigarettes in a row.
Zhang Yimou has watched too many Japanese AV movies, full of rape plots, even if it is not a rape plot, it is still on the way to a rape plot. At the beginning of the film, the Japanese soldiers started chasing the female students and wanted to rape them. The first time they went to the church, they wanted to rape again, and then they cut off cardamom halfway. There was no doubt that it was rape again. In the end, he drove a big truck directly, and the leader personally came to rape... Zhang Yimou wanted to make an AV movie so much, why didn't he stretch his arms and shoot the bed scene himself? It is reasonable and reasonable to have to put it all on the Japanese. Is it reasonable? I really regret taking my girlfriend to see this movie, the blood splattered in red, the large-scale, long-term, close-up violence scenes with insulting women... At that time, there were parents in the theater with very young children to watch, When they left, I watched their family hug each other in extreme twists but still stare at the big screen with relish.
The screen is full of ugliness and sin, and the whole story is full of rigidity and laxity, using narrow nationalism to force the audience to hate. When I was in the theater, I heard people next to me from time to time saying: "Beasts, fuck you little Japan" and so on. Does this really make sense, is it really good? Can a movie that floods people with one-sided patriotism really hit the Oscars?
Throughout the previous Oscars, from "Gone with the Wind" to "The Bridge on the River Kwai", from "Titanic" to "The Hurt Locker", they all conveyed the true meaning of love and dedication, respect and sacrifice to the audience, allowing people to convey positive Power, adhering to the beauty of the world and jumping on the screen. In particular, Da Ai's "The Bridge on the River Kwai" is also about war, also about the contradictions and conflicts between nations, and also about massacres and abuses, but it expresses true understanding, tolerance and harmony. The calm picture, vivid characters, and intense plot always reflect a kind of tranquil composure and the director's unbelievable self-confidence. On the other hand, "Jinling" is a restricted-level picture in addition to hatred. The messy corpses are afraid that people will not know that this is a massacre, and the screaming is hoarse, so that people will not understand that violence is being carried out. And that belly-piercing stick that I really don't want to think about. I personally think that Zhang Yimou is evolving from a second-rate five-generation director to an inexperienced R-rated photography enthusiast, and the literary and artificer who filmed "Red Sorghum" and "Codename Jaguar" has already taken the ticket and boarded the boat.
There are only two scenes in the whole film that made my blood boil, and I was deeply moved by the scene where Tong Dawei used his body full of bullet holes and drenched in blood, and was hit beyond recognition by bullets. The greatest honor of a soldier is victory, followed by death in battle when victory is impossible. In another scene, Bell shouted loudly in the face of the tyrannical Japanese soldiers, and a white and holy red cross banner shone on the screen like the glory of God, reflected in front of me. In addition, there is nothing remarkable about "Jinling", and all the notable points are spit points.
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