When it comes to naming movies, Feng Xiaogang is really slick. A movie that tries to tell about the trauma and aftermath of a disaster in the minds of mortals has little to do with what the disaster is called. So no matter if you are shooting the Tangshan earthquake, melamine, or the Hangzhou drag racing, the impact of the disaster on the witnesses is actually the same. But the name "Tangshan Earthquake" must be the most politically correct name, and it must be the name that can make the audience pay the most for tickets. When the State Administration of Radio, Film and Television was racking his brains trying to turn the disaster into a tool for political brainwashing, and when ordinary people were desperate to find spiritual comfort after experiencing various disasters, Feng Xiaogang was only very cunning to combine these two desires perfectly. Two for one, and then an iconic name, put the film on a political and box-office invincible position. From the point of view of the story alone, it seems that the "aftershock" of the original book is more appropriate. It is not only a 23-second earthquake, but also a 32-year heart shock. In addition, it also includes the short paragraph that Feng Xiaogang added at the beginning of the movie. Che Zhen - Actually, this part is very exciting. The director must be comparing the "rebirth" before the earthquake and the corpses after the earthquake.
What the director spent two hours telling us was actually a very vulgar story. From this movie, it seems that you can see the shadow of many movies and even news broadcasts. The separation of flesh and blood, the choice between life and death, the PLA's magic soldiers descending from the sky for rescue and disaster relief, going to sea to do business and returning to their hometown, single middle-aged men and women emotional sparks, mother and daughter reconciliation, Feng Xiaogang just arranged these modular bridges in the 30 years after a disaster. In the past two years, with some skillful additions of Feng's humour and BMW Jiannanchun China Life, they have made such a sensational and promiscuous domestic blockbuster. But what makes Feng Xiaogang so good is precisely that he is good at turning a third-rate story into a first-rate movie. When filming Party A and Party B, Director Feng was stunned to make the whole of China fall in love with those liars who cater to the public's obscenity, and at the same time let the snow scene on the promenade at the end of the film and the sentence "1997 has passed, I miss it very much. It" became a classic. In the era of the assembly number, he can already make such a story as "disabled due to work, petitioning for grievances" that he didn't even bother to follow in focus interviews, so freehand and so tragic. Therefore, Feng Xiaogang actually only did one thing right, that is, to find the laughter or tear ducts of the audience and the times, and then deliver a fatal blow. I sometimes imagine that if the opening ceremony of the 2008 Olympic Games was not directed by Laomouzi but by Feng Xiaogang, would he only spend millions to shoot a two-and-a-half-hour stage play, so that those who have never seen the The foreign native turtles who have passed Feng's humor are all over the place. Over the years, Feng Xiaogang seems to be arranging his filming plans according to the criticism of him by the media. Others said he couldn't make costume films, so he made night banquets; others said he couldn't make war films, so he made assembly numbers. This time he played with 3D and sensationalism again. But no matter how the form changes, he will definitely give the task of speaking to the most inconspicuous little people, and let the little people summarize the big era. It's as if we've been educated in Hollywood to be immune to the big picture and don't care about those few minutes of expensive disaster scenes, but after we're done we must remember the five thousand bucks for a phone, the increasing stars on our stepfather's shoulders, Entering a new era, the 1997 Spring Festival Gala. These details, deliberately arranged by the director, seem to be taking us back to 1976 in a gradual way.
To see or not to see, this is not a problem for Feng Xiaogang and the Tangshan earthquake. But to cry or not to cry, Director Feng does not seem to be doing it perfectly. There are countless clips throughout the movie that are enough to make the eyes wet, but there is a lack of a certain coherence and anticipation of a certain scene or a certain sentence, so that tears eventually flow. It's like getting wet again and again in AV, but it just lacks orgasm. This feeling of the sneeze ending abruptly in the middle of its brewing makes the impact of the film seem less vivid. When I saw the building collapsed, I thought I would cry when my mother chose one of the two. When I saw my mother abandoning her daughter, I thought I would cry when she was tormented in the next few years. When I saw my daughter adopted, I thought my mother would cry. I cry when the women meet each other, but when Zhang Jingchu hugged Xu Fan like a repeater and kept shouting sorry, I found that I had no time to cry, because I was about to cry when I saw the wall engraved with the names of the deceased. , but suddenly thought of the story of the Jews and the Wailing Wall, so the feeling of crying suddenly ceased to exist. It’s like when you are waiting for the bus at the station, you always think that the one in front of you is too crowded, so you stand in place and wait for the next one, but in the end you can only spend more money and unnecessary time after missing the last bus and take a taxi back. Family. When I watched the movie, I felt this kind of sadness. All I can say is that Director Feng has already mastered the art of laughter to the extreme, but he still needs to spend a few more movies to find his feelings about how to make the audience cry.
I don't want to be deliberately dark and mean. Besides, the Tangshan Earthquake was considered serious, funny, and not flattering in the middle of the non-mainstream
The Tangshan earthquake finally found some value for tears in the era of flooding tears.
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