After giving me the ticket, Huang Nan made a special call and added a warm reminder. He said that when he was watching "Nanjing", he noticed that the audience was silent from the beginning to the end of the film. Later on the Internet even suggested that the audience should wear plain clothes. clothes to watch the movie. This undoubtedly deepened my expectations for the film. Then after the opening, I was obviously not as lucky as Huang Nan. He may have met a group of the best quality audience, because from the beginning to the end of the movie I was in, the sexy phone ringing and talking voices came one after another. After more than two hours, I was even a little sleepy, guilty. After I came out and looked at the poster, the first feeling was, disappointment, hope.
All I can say is this is a decent movie. The audience got what they wanted, fierce street fighting, brutal slaughter, ferocious Japanese, righteous men, traitors, patriotic scenes, rape... In terms of impact, it did spark a wave of patriotic craze (the element of hatred against Japan). Most of them), but if Lu Chuan was just for this, he wouldn’t have to spend four years and so much money to make such a movie—isn’t it easier to post pictures of Japanese massacres in Tianya, Maopu, or even school? So, our director Lu Chuan's intention is definitely not this, it is said to be "reflection on war, love for peace", it is said to let you see how a Japanese person becomes a killing machine... If you look at it according to this standard, "Nanjing" Can't even pass.
in terms of script.
A group portrait mode is adopted, and the characters in it are mainly described: Liu Ye, a Kuomintang soldier who fought bravely and finally died heroically (if it is emphasized again that he belongs to the Kuomintang, it can be regarded as a contribution, but unfortunately Liu Ye is always disgraced, unable to see the blue sky and daytime of his hat The “Flesh and Flesh” traitor Fan Wei’s family; Chinese Schindler Gao Yuanyuan; a prostitute who “did his life for the country” (one from China and Japan); Unaccustomed to the cruelty of war, he committed suicide. After reading the whole article, no character has the kind of power that directly points to the heart, because we have all seen these characters, or they are all within the expectations of the audience, don't think that "bad people also have a good side, Good people have a bad side too” cheap truths like this can get us off because we see too much of it. What we need is something deeper - what causes them to do this. However, once he got here, Lu Chuan seemed to be lacking in his writing ability. In fact, each character still stays on the symbol - I found that many directors think that as long as you write the good side of the bad guy (or vice versa), the character will be plump and three-dimensional, not a flat character, but a character - - This is too easy. To make a character stand up, it depends on the characterization and analysis of the inner details of the character, not by showing him a few roars and finally committing suicide. Yes, I was talking about Kadokawa. Kadokawa's perspective is a big selling point, but how many people can see his specific mental journey? Apart from the unbearable eyes on the massacre, I can't see more - in my opinion, Kadokawa is just a symbolic trick. "Nanjing" is not as good as "Full Metal Slug" in its portrayal of ordinary soldiers in war. As for the civilians in the war - Chinese, Japanese - their state and mentality are even more missing. Except for the fun of playing mahjong, the civilians in the film are either a lot. Refugees squatting there, or dead bodies after being shot - they have no right to speak. Lu Chuan gave the right to speak to those "elites" - people who are very different from the common people: heroic soldiers, high-status officials, noble prostitutes. But what they show is not universal, at least it can't show the original appearance of the history at that time, and it can't explain the root of all this - Hong Huang lied to me and fucked up the national character. Although they are said to have historical prototypes, these key characters in the film are not as real as the citizens playing mahjong at the table. Maybe you can say that the length of a movie is limited after all, and it cannot carry so many profound questions, but I think those massacres, strong Can the rendering of rape and emotions be cut by more than half? After all, we've seen enough of this elsewhere. What I want to watch this movie is not the sensational images of these blood and tears accusations - of course, most people may be, but I believe that what Lu Chuan wants to express is not these. In short, after watching the movie, these characters failed to leave a deep impression in my mind. I even felt that this kind of character setting and this kind of plot could be written by my classmates.
filming.
After all, Lu Chuan is an academic school, and Bazin's documentary aesthetics is quite at home. The handheld photography in the street fight and the long shot with depth of field in which Fan Wei was executed are impeccable. He just wanted to use these gimmicks to render a real atmosphere, (so many clips that can be mounted on a tripod are hand-held, Makes me dizzy) Plus there are black and white tones and powerful sound effects throughout - have to praise the sound effects, the gun-to-meat feeling can only be enjoyed in movie theaters (so recommended Gotta see this in a movie theater) - and then I feel like all the energy up front was ruined by all those deliberately provocative soundtracks - with so much and such a full soundtrack in a documentary dominated by hard injury. What impressed me the most was the scene where the comfort women signed up. When I raised one hand, I thought it was time for the soundtrack. Sure enough, the aphrodisiac soundtrack arrived in time, and then I thought it was the other hand. Sure enough, Another hand arrived, followed by more hands. At this time, I felt that the audience should cry. At this time, the MM next to me started to take out the tissue... What a vulgar sensational montage! How many times have you seen this technique in popular idol dramas? ! Unexpectedly, it came from the hands of Lu Chuan! The scene where the captain fell in the desert at the end of "Kekexili" lasted for more than a minute without the soundtrack. Why did Lu Chuan become so vulgar? This situation appears many times in the film, and it has repeatedly made extraordinary achievements. The other is the tears, the flood of tears, which makes this drama completely reduced to a bitterness drama. "The language of the film got rid of the 'literary accent'." - Sister Hong Huang lied to me again.
This film uses the slogan of confronting history as a propaganda, but I want to say, as a victimized country, are there still few such films? What's so hard about confronting this history? If Japan shoots "Nanjing! Nanjing! "It can be regarded as facing history directly, but the Chinese have always been willing and willing to expose the scars. I think such a film is really nothing new, and it is far from the height of Lu Chuan's thought-"Reflection on war, love for peace", it can only stir up again. A wave of hatred against Japan (already aroused), and then Lu Chuan is either praised as a god or a traitor in this wave - and in any case, investors will always be "Chinese must see" Snickering behind the cry.
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