Every year I spend money to watch Feng Xiaogang's films in the cinema, and every time the film is fresh. But this time I watched "The Banquet", and I felt that I couldn't find Feng's style in it. It was entirely from the luxury production team of Chinese-language films. Integration. In my impression, it is Yuan-style action, Tan Dun's theme music, and the tone atmosphere created by Ye Jintian. The storyline and characters are too westernized.
I had previously heard Zheng Chuanyin, Dean of the School of Literature of Wuhan University, talk about the differences between Eastern and Western dramas, in which he compared the handling of tragic complexes. Tragedy in Eastern stories is generated by the external environment, such as the Zhao family orphans, family exceptions, or their own physical disabilities are affected by external influences and cannot be controlled by oneself, but Western tragedies are different, and each person thinks about it by himself. Yes, the final tragic outcome is produced by one's own subjective influence. In "The Banquet", Ge You's suicide is obviously a way of dealing with characters in Western tragedies, including Wu Yanzu.
This story should have been grand, and the characters' personalities will be very full, but after reading it, I feel that the portrayal is not enough. Maybe too much brush and ink are used to deal with the form in the film, which is a bit different from Zhang Yimou's style of making blockbusters like. Zhang Ziyi and Wu Yanzu's heart is very complicated, but after watching the film, I recalled that these people felt too weak, especially the roles of Huang Xiaoming and Ma Jingwu (teacher), which were a bit linked to the main theme of the story, and they didn't seem to be very tight. It's not in the right place, which may also have something to do with the post-editing.
It is worth affirming that Yuan-style movements have made some breakthroughs in the film, adding a lot of soft dance skills into it. Muay Thai in international action films, French extreme sports (Block 13), and Japanese Mirage (Ninja) have all come out, and he should have made some breakthroughs. Thinking of Liu Jialiang's hard scenes, although he is a bit dirty, he has always insisted on his own style. Although the martial arts of "Drunken Monkey" and "Seven Swords" in recent years are not bright enough, he admires such old filmmakers ( No other suitable words have been found).
Tan Dun's music is also too Western. I personally don't like this style very much. He seems to be creating music with a Western understanding of Eastern music. In comparison, I prefer Jin Peida's music style, which may be very entertaining and lack depth.
The national movie blockbuster, when can we really produce a work that everyone can positively affirm. Hero, House of Flying Daggers, Promise, Banquet. . . This overly foreign style of work made my heart very depressed and a little sad. I miss the works of the fifth-generation directors 20 years ago: Yellow Earth, Shuangqi Town Swordsman, Military Parade,,, in fact, in recent years, Chen Guoxing's films are quite stylish, especially "Born in the Sky" , I cried every time I watched it, and He Qun's "Fire Gold Steel" and Mi Jiashan's "Stubborn Master" (it's all movies from more than ten years ago, and all the blockbusters in the past few years have been completely confused). Feng Xiaoning has not heard much in recent years (I just checked it, and I am filming the Qinghai-Tibet line), Saifu passed away, Xie Jin's films in the past ten years have not been very loud, and Xia Gang has gone to film a TV series. The sixth generation of directors, I always feel that I like to break away from the masses with the brand of "independent production", alas~~ I
look forward to the national film to make a blockbuster that really moves people's hearts and shakes the hearts of the Chinese people!
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