After watching the film, I thought of something unrelated to the film. There are a lot of enlightenments, sum up two points, one by one.
The first revelation is that you should have children and be males. Let me clarify that I am not a patriarch. It's definitely not out of consideration of passing on from generation to generation. I also thought about the future, if there was a well-behaved and lovely daughter under the knees of Chenghuan, what a happy scene would be. It now appears that things are not so simple. It is far more difficult to raise a girl than a boy. Raising a boy is to give him a horse to let Nanshan go and let him be free. What did he do wrong, that is, he couldn't help but beat him up (this is how my father taught me). Even if he goes the wrong way, it is a kind of tempering. When the prodigal son turns back, the boy is always easy to be forgiven by his parents. Even if there is a problem in the relationship between men and women, it seems to be an advantage. Even if I went out to be a cowboy, I didn't seem to suffer a loss, and I could still use the money to supplement the household.
The daughter is completely different, and communicating with her is a big problem. In the film, although the father is part-time mother and father, we can see that the father and daughter have no communication at all. The father knew nothing about the daughter's inner thoughts. If a girl can communicate with her father and relieve her happy knot, maybe she will not choose such a drastic way of atonement. Of course it might not make sense, and as an audience, I saw the girl’s behavior from beginning to end, and I didn’t understand when I saw it. Why did she choose this way? Is there no other way? For example, go to Europe for a friend, and then burn the photos taken in front of her grave to comfort her in the spirit of heaven (this way seems a bit selfish). Another example is to chop up that client who is engaged in music into mashed meat, and then burn his head in front of a friend's grave, to comfort her in the spirit of heaven, and then desperately (I like this way). But she chose a path of self-harm. Can't understand, unreasonable. And her friend who jumped off the building, she smiled and jumped off the building. Why did you jump off the building? Afraid of things going out? Why smile? Think the heroine can catch her? From the moment she has devoted herself to the career of compensated dating, I feel that this girl is abnormal and a fool. And she seems to have a homosexual relationship with the heroine. The words are too far away, in short, I don't understand. As fathers and daughters cannot communicate, they cannot understand the inner world of their daughters, and they cannot stop and correct them in time before the daughter makes the wrong decision. Once the big mistake is made, what should be done? Ask yourself, if I were that father, how would I react? I think that music player is dead, and the other clients should not even want to live their lives. As a father, this is definitely an unbearable pain in life. Since we can't bear it, we won't bear it. It's better to have a son, although this is not something we can decide. If I unfortunately become a father, if I am lucky enough to be able to determine the gender of my offspring, I sincerely hope that I can have a son, because I simply cannot bear any harm to my daughter. Besides, the son can also pass on the clan...
This second revelation is that of script determinism. If the value of a movie is one stone, conservatively speaking, the script is exclusive to the five battles, and the rest of the links share the remaining five battles. Why did you say this? Let me talk about it carefully. After watching the film "The Samaritan Girl", in order to understand the confusion, I can’t wait to find the film critics. The film reviews are very boring, but there is a piece of information that makes me shine: "The Samaritan Girl" is produced by Kim Kidd Film Company. Investing in shooting, it only took eleven days before and after to complete the pre-shooting. The filming of "Empty Room" lasted 16 days and a total of 13 scenes were filmed. Relying on these two films that took less than a month in total, Kim Kidd won the crown of the best director of the two major film festivals in Berlin and Venice within a year, and achieved a film myth. What a cost-effective price! The grand prize of the European Film Festival, a feast for all Chinese directors. Why did the things we spent five years photographing didn't work well? Why do people look down on the works we spent tens of millions of dollars in? The reason is simple, the script does not work. What does Kim Kidd rely on for winning the award? Shooting skills? To put it bluntly, he is far behind Wang Jiawei and Zhang Yimou. Kim Kidd relies on the script. His films have profound intentions, weird plots, and weird. Even if you ask Ed Wood to shoot, it is also attractive. The so-called one must first sharpen one's tools if one wants to do a good job. The script is your weapon, the knife sharpens quickly, and you can chop down big beasts such as golden bears and silver lions without any effort. If the knife is unpleasant, you won't be able to chop a mouse to death. Of course, the luck of a blind cat hitting a dead mouse cannot be ruled out. So sharpen your knife before cutting wood, it won't take you a few minutes.
Let's take a look at those great directors, most of them made their own scripts. Many great directors are also writers. For example, Antonioni and Tarkovsky, they themselves are writers worthy of their work. For example, the standard bearers of the New Wave, Godard and Truffu, were well-known film critics before they became directors. Bergman, the top director in the world, was nominated for the Nobel Prize in Literature. There are also some directors who don't know how to write screenwriters themselves, and they are looking for the best writers to serve them. For example, the famous director Alan Renai, his most famous works are "Last year in Marion Budd" and "Love in Hiroshima". The screenwriters are the well-known representatives of the Left Bank, Rob Grillet and Margaret Duras. Another example is Zhang Yimou. Most of his films are changed from novels. Mo Yan, Su Tong, Liu Heng, Yu Hua, Shuping, and Li Feng, these people have become his solid backing for winning gold and silver at major film festivals, and they have also become an important guarantee for his box office revenue. Recently, he himself started to participate in script writing, and he created two big planes, "Hero" and "Ambush on Ten Sides". The results are obvious to all. No script, no matter how well-made it is. Now he has to ask Zou Jingzhi to come out of the "Thousand Miles Riding Alone", and we will wait and see what the result will be.
It seems to be a little serious. Let me ask a light-hearted question. Why do so many people like TVB? Compared with mainland dramas, it is not an exaggeration to say that its production is rough. The key is that the story is appealing. Not to mention Korean dramas. There are hundreds of episodes at every turn, and it's not boring. This is how the story is well-written. Brazil and Mexico TV dramas also had this characteristic. We will stop cooking when we make up forty or fifty episodes in Mainland China. Inspiration dried up. Just talk about "The Romance of the Three Kingdoms". It took more than 80 episodes of such a big tome. You can take it to a Korean, and you can't stop it with 300 episodes. Let's talk about the United States again. Zhou Liming wrote an article about American screenwriters. Other American film companies are looking at the script and reinvesting. The screenwriters also have a meticulous division of labor. Some specialize in dialogues, some specialize in plots, and some specialize in action scenes, and so on. Later, he had to ask the script doctor to make serious corrections, which can be seen in his attitude towards the script. Why are American blockbusters not as good as they were in the past? Very simple, the script is not working. What about the script writer? Went to write TV series. Recently, American TV dramas have really put the Chinese people down. Just say "Six People", yes, the actors are very good, but the key is that the script is great, and whoever plays is popular. Let's talk about "24 Hours", in the words of "New Movie", it satisfies our strong demand for stories. Having said that, the film industry in our mainland is sluggish. Internally speaking, there is no good script. Furthermore, we don't pay much attention to screenwriters. Zou Jingzhi said: If you pay a dollar, you want a script of ten dollars, is it possible?
These are the two enlightenments I got from the movie. A lot of wordy seems to have nothing to do with the movie itself. It doesn't matter, this movie was originally a drug introduction, and what I wrote was not originally a film review.
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