Let's talk about the climax first, which is a problem that most action movies can't solve. When the protagonist, who is Comrade Chen Zhen in this film, encounters the opposing BOSS, the final outcome must be to solve the opponent. There is no doubt that the key is how the process is presented. The most common model is to first lose and be beaten badly, and then somehow turn defeat into victory and beat the opponent badly. Jingwu Fengyun follows this model exactly, and that's fine, most of the films are like this; the problem is that the way to turn defeat into victory is too much of a saint, simply thinking of the buddies who were bullied by the Japanese, and then suddenly violent, Directly putting the opponent to death, from the perspective of the action itself, there is no reason to turn defeat into victory, it can only be explained by the spiritual victory method and the power brought by the explosion of the small universe. Of course, this is also the way to fight the tornado at the end of "Ip Man", but at least he recalled the weakness that Ye Wen had reminded himself when Chubby was beaten to death, and provided a technical basis for turning defeat into victory.
Speaking of the plot, the film has many problems that cannot be explained by the basic logic. In the final analysis, it is definitely caused by the director or the screenwriter being lazy. Most plots are directly for "typing" words, such as the Japanese assassination of the whole city. The function is to provoke The gamble between Chen Zhen and the Japanese chief, and Huang Qiusheng was a master with extremely unclear motives from beginning to end. Before the decisive battle, he bizarrely commanded his subordinates to kill two Japanese soldiers. Of course, it was even more bizarre that Shu Qi brought these two unfortunate men. The Japanese soldiers came to Huang Qiusheng and asked him to hand over Chen Zhen, otherwise Japan would send troops to Shanghai. I really don't understand the logic of these people.
When the plot can't be said to be round, it is a matter of course to use nationalism as a shield to try to make up for the loopholes in the plot itself by arousing the audience's feelings. Of course the effect of this must be counterproductive, because beyond the inherent stereotypes, the film does not give us more credible explanations of the national crisis of the era, when a film simply uses the existing cultural structure to In the absence of creative changes that fit the theme of the film, the film itself is in danger of failure. The actions of the Japanese in Shanghai in the film are direct murder and arson, which is basically an act of terrorism. Although the assassination of General Zeng of the Northeast Army tries to show political problems, it is scattered from other plots. Instead, it is better to abandon the Japanese army. For other atrocities, focusing the film on the contradiction between assassination and protection of specific objects has more narrative strength and space for expression.
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