It doesn't take great imagination.
Guessing that if Zhang Yimou himself encountered such a general question, he would calmly say that people who make movies should not be divided into generations, and everyone will grow old. Everyone has their own piece of land (that is, every filmmaker has their own piece of sky). The question of whether to replace or not to replace is itself superficial.
He was in the clouds, naturally speaking lightly. There is a common demeanor and immortal style.
Although Chinese people seem to be popular for spoofing and subversion, they are still a society that pays attention to seniority and rules. Zhang Yimou's latest work reinforces this theme. You can see it as an exaggeration or a revelation, and the moral flexibility is on full display in the film.
If the idea of "replacement" is to say that it is backward in this era, or it shows the decay and weakness of one's own consciousness, it is to regard the name "Zhang Yimou" as just a living person.
But not actually. Demonization, deification, fuzzification, the name conveyed by this name is no longer as simple as a person... and more importantly, his golden gun does not fall, which confirms a phenomenon: in China, after a long period of time, there will be a so-called so-called "Historical Opportunity", a few people who catch up with this bus will get a lifetime VIP ticket.
I think what Zhang Yimou said in his interviews these days has been deliberate for a long time, because he has blurred too many contradictions, and put himself in a detached position. He "explained" the "reasonable existence" of various "irrational" phenomena, but he just forgot to talk about how to change it.
The word "change" seems to be in his mind, like ordinary people, it can only be linked to "time".
How can movie reviews touch makers?
Put aside simple compliments. Focus on the real production details. On the premise of keeping the general framework unchanged, put forward your own rationalization suggestions. Because commentary, like the police and judges, is passive and can only be involved after a case is made, Minority Report is just a fantasy story.
I have revised "Hero", and I believe that such revisions can rationalize this work by Mr. Zhang Yimou. Of course, I didn't just focus on the keyword "kingdom" like a normal comment. Because I said in my review of "Golden Armor" that Zhang's films have never solved the problem of "men". When there is a strong man in one of his films, director Zhang Yimou will be at a loss. And when the man lives to the end of the movie, the criticism from the critics will focus on that.
This is one of the problems. Improvement and replacement, as two methods, the difference is often between a thought. And when I saw his next martial arts commercial production, I didn't have much hope for his "improvement" sincerity, or the information blockage caused by his status and seniority was so stubborn.
It seems only to return to the other extreme mentioned at the beginning of this article. Just as Tsui Hark had a bad relationship with Hu Jinquan in "Swordsman" through the remake of "Dragon Inn", which can prove his extraordinary understanding of the new martial arts. Adaptation, surpassing the works of predecessors, seems to be a rare way to be recognized in a country that pays attention to seniority. In the same way, as long as a medium investment, some elements of "Hero" and the changed plan are integrated into it, it should be able to prove that there are some essential drawbacks of large productions with Chinese characteristics, so as to reflect Zhang Yimou in a more direct way Comrade director skills are weak.
On the other hand, for the review of "Golden Armor", I don't think he is the court version of "Raise the Red Lantern" like Mr. Zhang Yimou verbally said. In fact, this is a lavish repetition of the "Judou" story.
Some people praised "Golden Armor" as a new peak for Chinese blockbusters.
I don't care whether it is high or low, because Mr. Zhang Yimou also admits that Chinese-style commercial production is still in its infancy. Then he should not deny that the most important thing for the films that come out now is to create a commercial production model for the latecomers. What I focus more on is the filmmaking itself. But looking at "Golden Armor", is it replicable? Does it need to be copied?
Mr. Zhang Yimou tried to use images to restore his early martial arts dream in the first two works, but the effect was not good. So he retracted again, and forced the story mode of the so-called art film into the abdominal cavity of commercial works.
Could such a "return" be considered a breakthrough? Any inspiration for other filmmakers?
Disappointment is not just the disappointment of the three words "Zhang Yimou".
Chinese people lack imagination and a good sense of humor, so characters like Guo Degang also surfaced and entered the sight of Mr. Zhang Yimou. But "jokes" are not only based on mocking others, but also on a reverse, alternative and inclusive way of thinking. The changes to "Hero" that I mentioned just now do not belong to the category of spoofs.
If Mr. Zhang Yimou's wisdom and cultivation had as many contacts and resources as he had, I believe there would not be an article in the name of "replacement". I still have a very small part of my mind to believe that this is just the result of my hasty or misjudgment.
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