Fortunately, I watched the super-advanced screening. After watching it for more than half a month, I have time to write a few pens today.
1.
Let me talk about the actors first.
The performance of the two protagonists was beyond my imagination, especially Deng Chao.
Deng Chao and Sun Li, both of them are not outstanding in their own characteristics in each play, especially the kind of actors who need good directors to adjust. If the director is good at tuning, he will be very successful, if the director is not good, he will easily run into the risk of losing control.
Both of them are in their best condition in "Shadow". Deng Chao played the two roles alone. I didn't even read any information before I realized that the two roles were played by him alone. The deity's Lao La and Ying's forbearance, as well as the subsequent explosive changes, were completed quite well, smoothly, and did not reveal some of his own life.
Such an actor can be forgiven even if he has the addiction to being a traffic star outside of the show.
Sun Li still shows her most beautiful state, with her unique sensibility and rationality fully intertwined with beauty, lightness, and an excellent sense of fusion with black and white tone. She has to practice a section on Tai Chi Tu.
At the beginning, Zheng Kai was a little bit violent in most of the literary drama, and he was a bit sloppy in every move (but Deng Chao did not). The final scene was excellent, and the conspiracy gradually revealed. He acted very smoothly, probably The reason is really into the play.
I personally like Wang Qianyuan very much, but to be more critical, the focus of his performance this time is a bit too realistic and modern, and it doesn't match the virtual realm of the whole play. Of course, he is not to blame, and I can't think of how to play the role of a reckless man in this kind of play.
Only about Xiaotong is unqualified. Fortunately, there is no such thing as her in the colorful part that really enters the theme in the second half...
2.
Zhang’s recent films, I have watched, are roughly divided into two categories:
The blockbuster costume film that started with "Hero" has a simple plot line and a big world view. The focus is on the style and aura created by art; the other is a relatively small piece and deep meaning starting with "A Thousand Miles Riding Alone" The work and the rhythm are very good, and it seems to feel safe.
Regardless of his status as a national teacher, it is only my personal taste to talk about his works. I always feel that his previous type of work is not as bad as what others have said.
For example, "Full of Golden Armour in the City", I watched it twice in the movie theater that year (once the intern unit that year, and watched it again after buying the ticket myself), but I just felt that once I could accept his obsession with group gymnastics aesthetics and put it If you include your personal "broad beauty" category, it is very interesting to use this rude or even cult form to tell the story of power.
After all, that is his own thing, and it is probably something that has been able to represent a certain meaning of the spirit of the times after many years. If you only see the crisp breasts, or see a piece of golden light, and you understand it as a nouveau riche, this kind of opinion itself is very narrow.
I also like "Hero". If the form reaches that level, it is already the content itself. On the contrary, works such as "Returning" are a bit boring to me. Although it is good, the rhythm is too smooth and it is too personal.
"The Great Wall" I haven't read it before, but I always think "Three Shots" is not as bad as others have said. It is 3.5 stars.
3.
"Shadow" is of course the former work, and of course it is more interesting than those sketches.
The theme may be closer to the Golden Armor, which is power and violence, and the duckweed destiny of everyone in power and violence. It's just that "Shadow" puts more emphasis on individuals, and also adds some contradictions in the "to be or not to be" style of "Shadow Warrior" himself.
The form is more similar to "Hero", the colors are changed to black and white, it is more sophisticated and more sophisticated, and closer to the artwork.
(Insert, although there is no comparability, the theme of "Hero" is actually close to Guo Jing in "The Legend of Condor Heroes", and it ends up in the category of "the great man, for the country and the people", which is very magnificent and upright. And "Shadow" can be compared with "Swordsman". In the world of power and conspiracy, the fate and destiny of the little people have a darker background.)
Of course, to feel good-looking, the premise is that you have (to a certain extent) accept the aesthetics of group gymnastics, accept the art that is deliberately the ultimate The bold line of narrative, and Zhang's unique way of expressing violence and power.
If the above is okay, you will feel good-looking, and you will be more addicted to the back.
I didn't prepare myself before watching the movie, and I didn't know what story I was telling. In the process, I learned that it was overhead history. I once felt that I was telling the story of the Warring States Period in Japan, because the logic of the people in the film and the effort to beautify death were all quite "Japanese" and very familiar. After reading the information, I found out that the "Shadow Samurai" was originally a Japanese legend of the Warring States Period. The "Kagemusha" by Akira Kurosawa many years ago talked about the "Shadow" of Shingen Takeda.
The story itself is not new in the final analysis. The "Shadow Warrior" lost his identity in the power trap, and his ambitions grew. There was no good person, no true feelings, and even the sense of identity was no longer important. In the end, he would only become a king. Only defeated. It is simple and sufficient, and it is especially harmonious with the black and white yin and yang picture.
The black-and-white art is done so well, and I don't think it is the elegant and elegant oriental ink painting that others say. I just feel that it is raining all the time in the film. This black and white has turned the suffocation brought by the rain into solemnity, and the blood in the second half has been transformed into a cold beauty. This unique beauty of power and violence must be like this. The fine arts can be delivered.
At the beginning, the literary drama was a bit too "holding", and with Guan Xiaotong’s disaster exit, I almost felt a little unwilling to stand it, but then after the plot unfolded, it gradually became better, and then the slaying began, the position of power began to change, and the rhythm was smooth. To perfection. The ending is also very good, the shadow walks out, and the rest of the place ends in the unknown freeze frame is really wonderful.
Such a story can't think of a better way to end.
4.
In the end, it's two complaints.
The exclusive action developed with the iron umbrella is too funny and too drama. In the yoga studio, it will be embarrassing to see many people practicing this "dance yoga" seriously, not to mention that Wang Qianyuan led the gymnastics army. Practice together...
In addition, it is really embarrassing for real couples like Deng Chao and Sun Li to perform intimate scenes on the big screen. Besides, there is another Deng Chao peeping. Seeing this, I thought it would be too horrible for me to think this way. Later, the people next to me kept touching their noses and coughing, and I was relieved.
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