Since this film has been highly speculative in the market from the very beginning, my opinion is not to go to the cinema, not to buy DVD discs, and resolutely resist its various means of making money. I admit that I watched the online download version. In addition to saving myself a ticket, the more important thing is that I can make the purest judgment on the premise of eliminating the "distancing effect". However, the conclusion obtained is even Far below my expectations: no imagination, no logic, no deep connotation, no technical contribution... I don't know how such a vulgar and boring movie can deceive millions of people's tears, at least In the eyes of non-disaster-affected audiences, we could not feel any heart-wrenching bits.
At least in terms of form, what Feng Xiaogang did this time was very impure. "Tangshan Earthquake" tells about the changes in the 30 years after the earthquake, making the film invisible from a "disaster film" to an "emotional drama", if you know This layer is deceptive, then we don't need to go to the theater to expect an overwhelming amount of special effects. Can you imagine that you would spend a day's wages to buy a ticket to "Thirty Years of Tangshan"? Feng Xiaogang's speculative nature lies in his early understanding of the Chinese people's mentality of caring about hot issues. The earthquake in Wenchuan and Yushu caused the Chinese people's attention far more than some kind of touch. Its nature is probably no different from our concern about the World Cup football match. Therefore, this kind of speculation is entirely psychological, with a natural and unique advantage, so that Feng Xiaogang does not have to care too much about the skills and observability of the film itself, because this theme itself is an example of only making money and not losing money.
It is probably for this reason that "Tangshan Earthquake" appears lifeless from beginning to end. Feng Xiaogang's humorous words and jokes are useless, and the grand scale of the narrative is not what he is good at. The clues focus on a family of separated people, and after the so-called Feng's humor is removed from this indulgent emotional drama, what remains will only be endless monotony and fatigue. You can't expect Feng Xiaogang to become a humanitarian, because of the greed of money and the meaning of profit, he can't have such a compassionate mind, not to mention that the Chinese have never had new skills when dealing with similar subjects, which also makes Feng Xiaogang so sympathetic. Stretched in plot conception. As we can see, the plot is disassembled into eight pieces, every clue is a shallow taste, and the beginnings and transitions between each other are also very blunt, the shadow of the disaster that Feng Xiaogang is about to show has become a kind of alienation without a reason sense. And this sense of alienation cannot be recognized by the audience because of the lack of the most basic logic. For example, the plot of Zhang Jing's first-born girl dropping out of school is very unconvincing in the film; and Xu Fan's hysteria is always a bit contrived, because it basically It is equivalent to writing about people who have experienced disasters as mentally ill.
Therefore, from the very beginning, this film has been thinking about issues from the perspective of ideology. Feng Xiaogang must also take the appropriateness of the subject matter as the premise. Black and white photography naturally has a sense of depression. The so-called moral restrictions also make Feng Xiaogang happy to play chicken thieves. One side peeled off. It is said that with Feng Xiaogang's ability, under the background of the earthquake, capturing the romantic optimism of a pair of lovers in danger is far more handy than writing a family's wives and ions. The truth of ridicule" is discussed. In the general environment, this kind of discussion is definitely not good for Feng Xiaogang, so he is not willing to take such a risk at all, and the price is a serious devaluation of the fun, making the movie a vulgarity with constant running accounts and flooding of bitter scenes. Main melody production. At least after the alienation effect is removed, "Tangshan Earthquake" is only a second-rate TV series. It's a complete failure as a disaster film.
If you watch it as an extended TV series, you also don't know how Feng Xiaogang trains the actors. The performance is not based on crying and screaming, but requires a flexible maneuver to support. At this point, Chen Daoming Obviously much better than what Mrs. Feng did. In the ending scene, Xu Fan and Zhang Jingchu hugged each other frantically and cried, which can only be regarded as an extremely vulgar ending. If you have seen how Zhang Yuan handled the reunion in "Homecoming for the New Year", then you will definitely feel for it. Feng Xiaogang felt ashamed. It's not that there are ideas and there are no solutions, but that they are too lazy to have ideas. As for the bluntness of the actors' collective performance, it can only be attributed to the director's ineffective handling.
"Tangshan Earthquake" has lost anything that we can talk about under various constraints. Its mediocrity once again confirms that the main theme movie cannot be made good-looking under the constraints of various ideologies. The whole film has no formality. The innovation of Feng Xiaogang also has no technical contribution, which basically proves that Feng Xiaogang is not enterprising. And it is this lack of progress that makes the film degenerate into a main theme film that follows the old routine and is as rigid as a revolutionary model drama. This is undoubtedly the biggest cup on Feng Xiaogang, who has always caught people with interest.
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