I admit that the charm of Liu Ye's smiling face in the 17th minute of the movie deeply shocked me, and Xu Zhimo's "Shayan Nara" filled my heart. She was as shy as a water lotus invincible against the cool breeze, and then she was entangled in Xie Na and her astonished marriage like a mountain. Astonishment returns astonishment, watching TV is by no means distracted. After a fierce battle, the Kuomintang soldiers led by Liu Ye surrendered. Liu Ye was silent, with a gloomy, "tough guy" expression on his face. Later, when the Kuomintang army faced the killing, no one stood up, Little Japan shouted, Liu Ye stood up, Xiaodouzi stood up, and then hundreds of remnants also stood up. That aura was embarrassing. Someone shouted "China will not die", and then the crowd boiled, and I felt a chill all over seeing this sensational clip. Does the director want to express patriotism? Then why not arrange for them to fight stubbornly with the enemy to the end to complete the so-called patriotism and the sublimation of humanity. ? Chinese soldiers, how can you do this? You didn't complete the mission of soldiers on the battlefield, and you didn't make mortal resistance with the enemy, but why did you come to ravage our sight and hearing at a temporary time, making people laugh and laugh?
I admit that Jiang Yiyan's frivolity when refusing to cut her hair stunned me. Sometimes, the frivolity in my bones is hard to erase, it's like the habit of following me like a shadow, no matter what, it's hard to let go . With that frivolous and even casual air of professionalism, Xiaojiang should be full of confidence in the victory of the war, otherwise she would not have imagined that she would continue to resume her old business after the war was over. When the Japanese soldiers rushed to the security camp like a tide, the momentum was completely unstoppable, like a wolf like a tiger, looking for a woman to vent their inner desires, that attitude is really ugly, the protection of the German Nazi Rabe was not in place, safety The Chinese women in the camp are weakly at their own disadvantage, and Xiao Jiang has become one of the unfortunate ones. Although she is a prostitute by profession, she has an innocent innocence in her bones. Later, when 100 Chinese women were required to come out to be comfort women, the audience was silent. Xiao Jiang was the first to raise his hand, and then his soft hands were raised slowly like dominoes. Under the irradiation, poignant and gentle. The development of this plot is really unbelievable. What makes me puzzled is why the director wants a person whose occupation is already ambiguous enough to be the leader of this "volunteer activity", which is lacking in the development of the plot. Dramatic, persuasive and even infectious.
I admit that I have always disliked the role played by Gao Yuanyuan, whether it is the heroine in "Seventeen-Year-Old Bicycle", or Qinghong in "Qinghong", or Zhou Zhiruo in "Eternal Dragon Slayer", I always feel that this woman The image is too thin, and the eyes are uncharacteristic, and the expression is always too simple and without aura. In "South", from the beginning to the end, the brows are always frowned, and the face of bitterness and hatred is swung from beginning to end, making people wonder how such a beautiful face can have such strange vicissitudes of life, when not smiling It's like worrying about the world. The character she plays speaks English, is graceful, loving, strong, and even has a very broad mind, looks so holy, and hopes to be relieved in the face of humiliation "please shoot me", such a character seems to be sustenance All people's fantasies about perfect women, it is such a woman who wants to keep pure until death makes people feel completely abrupt and numb from other Chinese people in the show, standing out from the crowd and growing in a vacuum. She's perfect and a little unreal. Perfect people are not cute, she asked others to cut their hair, and faced the question of Xiaojiang who was not convinced: "Why don't you cut your hair, you still have your hair permed?" She said righteously, "We are the safety committee. The Japanese won’t touch us.” If she had set an example, played a role model of advanced people, cut her hair, and then abetted her, I think I would have liked her, but she didn’t, Therefore, when she translated Rabe's words later, hoping that 100 women would stand up as comfort women, the choked sobbing made me a little overwhelmed, and it was hard to swallow. However, from a sensational level, it is still desirable. It's just that she can allow her compatriots to sacrifice their bodies to be the comfort women of the Japanese devils, why can't she tolerate this kind of thing happening to this kind of person? Oh, yes, they are saints, they are religious.
I admit, Fan Wei's role as Rabe's secretary strikes me as hilarious. This man should be a typical example of a good man in peaceful times. He coaxes his children while his wife is playing mahjong, and teaches them a few Japanese words that can save their lives: "My friend, I am a good citizen." In the hands of his wife, he always has a smile on his face. He has a wife, children, and a career that keeps him safe. But in order to protect himself and his entire family, he sold the information of the wounded officers to the Japanese, and bowed his knees before the devils. This kind of person is well versed in the way of life. In the catastrophe that ravaged youth and humanity, the most important thing is to settle down. When he thought that Rabe could not take him abroad, he had his own plans. People should be very good at socializing in the business battles of modern society, and they may survive in every era, but such people always make people feel that something is missing, they are too good at vitality, but they don’t know how to live. So the director started punishing him. His child was thrown to death by the Japanese army, and his younger sister was dragged into a comfort woman. He had the opportunity to leave with his wife, but before leaving, he gave up again. Is it a conscience discovery? I believe that he should not be a coward in his bones, so he is neither indignant nor silent when facing death, but a just awe-inspiring. The director seems to try his best to portray the sublimation of an ordinary person's humanity. At the end, he has to embody a national image of "the greatness of life and the glory of death" for Mr. Tang, but this kind of portrayal is too far-fetched and too abrupt. , please, give some psychological hints! Anyway, you should come to the foreshadowing of the plot! Such a turning point, such a death is too unexpected, no wonder it will be ridiculed by netizens as "nonsense".
I admit, Kadokawa's appearance is quite flattering. Throughout the repertoire, he appears to be a miserable bystander, save for occasional military operations and sparse conversations. Facing the Chinese people who raised their hands and surrendered, he looked stunned and fearful; after he shot and killed several Chinese women hiding in the confessional room, he was busy saying sorry; he and his teammates were laughing by the river and talking Nostalgic for his hometown; he fell in love with Yuriko, a comfort woman who broke his place, and wanted to marry him, and went to visit her with condolences, and planned to set up a tablet for her after Yuriko died of illness; After walking away from Teacher Jiang's cross, he did not forget to say thank you politely. It turned out that he was also a religious believer. When he asked himself "please shoot me!", he "satisfied" the saint's wish; when he realized that "life or death is more difficult", he resolutely chose to end his own life. He is a warm man, he is gentle, his eyes are clear, but empty, and he accepts all this dazedly. But in the end, he was crushed to death by his own emptiness, confusion, and guilt. The director is trying to understand how this "perpetrator", a person, a small, dispensable screw in a cold state machine, judges himself during and after the violence, how he feels guilty, and how he In a situation where there is nowhere to complain, he faces his riddled heart. In the end, he can only escape from this difficult proposition with death to complete the sublimation of human nature. Just as he watched the festivities in silence, I knew that something had died in his heart.
The film is based on Kadokawa's perspective as the main line, and several so-called main actors in the mainland actually did not play the role of the main actors at all. I thought that the main line of the story would at least run through Lu Jianxiong, played by Liu Ye. At least when I first watched it, I thought the film would use flashbacks to show how this sturdy man fought and resisted, and then to reflect The conscience of Chinese soldiers, and then came to give us some modest hope, so when I watched the second half, I dragged through the plot, I thought I would see Liu Ye again later, and see the resistance. , see hope. I was stunned, where are the Chinese men? In the back of the film, I only saw how a foreign Nazi tried to protect the refugees in the security camp and was helpless, and he knelt down with guilt when he left; in the back of the film, we only saw that 100 Chinese women could be sent to be comfort women. You can bring food and clothes for the winter to those poor children; in the back of the film, only a weak woman is seen running back and forth a few times when she recognizes her relatives, just to save a few more people, but finally catch up with her own. life. There should have been a group of men who acted as heroes to support the crumbling hope, there should have been such an image to reflect the director's so-called people's will to fight against resistance, there should have been, but there really wasn't! Some are just obedient people who face death with indifference, and don't even resist.
The film as a whole feels disjointed. The director probably doesn't have the ability to master such a grand narrative. Several main narrative lines are spread out separately, and the plot changes dramatically. When I thought that the narration of one of the "protagonists" could be continued, it stopped abruptly and switched to another protagonist. It was a bit of a surprise, and in the end, the shaping of each character's image was powerless and lacking in enthusiasm.
The purpose of this film is to "not only render brutality for the sake of showing brutality, and render bloody blood for the sake of showing bloodshed, but also try our best to use images to get closer to the truth of history, so that people can deeply relive and experience the cruelty and tragicness of this war in the images. This leads people to think about war and peace." The director's intention is good, and the courage to choose such a large background to narrate is really commendable. And dormant for four years, hard work, this dedication is worthy of admiration. But when you shoot this kind of film, if you get the wrong angle and convey the wrong idea, the result is not so pleasant. When watching movies, I always feel that the director has a kind of deliberate or even contrived "rationality", usually too much rationality, but it is not necessarily a good thing. He is always careful when grasping the development of the plot and the image of the characters. I am afraid that it will be overheated, but the result is often not as expected, which is extremely bad for the people watching the movie. Please, what are you trying to express? After he "suppressed" us for a while, and made us tangled in the disaster for a while, he told us very invisibly: we still have hope. We are inexhaustible wildfires, and the spring breeze blows and drips. Otherwise, Secretary Tang would not have said, "My wife is pregnant again." Otherwise, Xiaodouzi, who was protected by most people and survived, would not have laughed so happily. They are the flowers of the motherland, and they are the tomorrow of the motherland.
Deep love and responsibility. Maybe we are expecting too much.
However, this lady is really out of anger.
I've never liked watching war movies, especially the history of the Nanjing Massacre. I know history needs to be remembered, but there is no need to bring it up all the time and use it as a cover for box office profits by the inevitable few speculators. I think that many war films I have watched actually only focus on the visual shock effect, and try to get close to the expression effect of the epic, but when it comes to shaping human nature, it is slightly thin (except for some war films). There is also a lack of tension in shaping. It's like "South", the whole Nanjing city is like a city that has been smashed into an empty city. There is no reason for all killings, all rapes, and all resistance. It seems that two teams of people suddenly went to work. The first male died suddenly, and the second male also died. Now, the female No. 1 and the female No. 2 have also died one after another, fragmented! The 300,000 slaughtered compatriots seem to be an empty number, the whole city of Nanjing is like a huge graveyard, with mourning everywhere, destroyed houses, hanging heads, people with their heads bowed and waiting to be buried alive, yes, we know War is cruel, we know war is ruthless, but the narrative of such a stream of consciousness starts suddenly and ends suddenly. The development of the plot has no integrity at all. The interlacing of several protagonists is very accidental. If it is replaced by the passerby "A, B, C, Ding" beside the protagonist, I think the story can continue to be told, because the relationship between the protagonists has always been There is no uniqueness, and there is no inevitable thread that leads them to meet and intersect. Watching a video is like walking on a banana peel, swiping wherever you go, because anywhere can be the beginning and the end of the story.
Such films are usually not about asking questions, but about entertaining others. This is an era of entertainment to death, an era of subtle but indifferent hypocrisy in the relationship between individuals, an era of emotional dryness and urgent need to vent. Then such a "restored history" film can undoubtedly satisfy the best of both worlds functions of visual shock and emotional venting for most audiences. But if the memory of history and the catharsis of emotions are to be mediated by such films, I am really depressed: this era has gone backwards to such a pitiful and even terrifying point.
Before I watched the movie, I was intrigued by the overwhelming media and the classmates who had seen it around me. A spring breeze came over me overnight, thousands of trees and pears blossomed, "Nanjing! "Nanjing" became so popular. Before his release, all the film critics and behind-the-scenes promoters worked hard to elevate the viewing of this film to a patriotic level. If you follow the trend and go to the cinema or watch it through other channels, you are following the trend, and you are patriotic. Otherwise, why have many people said to everyone recently, "Have you watched "Nanjing! Nanjing?" A commercial flavor is added to the film, after all, the film is to be sold for money. Otherwise, how did this film make hundreds of millions at the box office not long after it was released! ! !
After watching it, I didn't have the so-called anger and depression that the classmates who watched this film before I couldn't sleep, couldn't eat because of depression, and so on. I know that every conscientious Chinese will have a long-standing scar about the Nanjing Massacre. This movie tries to pull out the scar in our heart, let us explore the truth, and make us think deeply, but it really The scars that didn't touch the bottom of my heart, I was just tickled, neither painful nor itchy. Then I quietly turned off the computer, climbed into bed, and miraculously didn't have the insomnia as before, and fell asleep quickly. Had a nice dream early in the morning! !
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