"Jing Ke Assassinate King Qin" is a ghost movie!
Watching "Jing Ke Assassinate King Qin" is a nightmare falling into a mental hospital.
Without good psychological quality, the audience will also be tortured with mental illness, because the editing, directing, and acting are all mentally ill.
Chen Kaige is a tendon, very typical. His favorite story is-three men surround a woman. From the beginning of the film, "The Promise" and "The Legend of the Demon Cat" are all the same routine, 20 years before and after-Chen Kaige recognized this model, probably because the woman he likes also has two other men.
Chen Kaige is still a little capable. He can train male actors. All the male actors perform Chen Kaige's expressions and accents in reality-unobtrusive pretence, triumphantly making things difficult, complacent abuse, and dead end. Time's mad laugh.
In short, abnormal, as long as it is reversed, it is art-all emotions are deformed, and all language is superior to others.
Jiang Wen played a similar deformity well, and Jiang Wen could also make all male actors perform as Jiang Wen. Feng Xiaogang is good at making actors perform proudly without a smile. For all Beijing directors, deformity is their housekeeping skill.
Li Xuejian's performance can be summed up as a circumflex howl, sudden angry eyes, crackling laughter, and innocent true feelings. His expression is very exaggerated, and his voice is high and low. It seems that every action and every sentence contains strong emotions. The emotions are so strong that the person who speaks can’t control the direction of the emotions. All the emotions must be different from normal people. Try to create deformities that are inconsistent with the lines, plots, and situations. In layman’s terms, it means acting as a mentally ill person, or in other words. It is the mentally ill performing.
Similar symptoms of psychosis, all actors have, suddenly yelling, laughing inexplicably, narcissistically, suddenly canthus, and utterly falling silent-but this is just in line with Chen Kaige's training, in line with the art of Beijing-deformity is the most Effective artistic methods; continuous chaotic deformities can impact European film festivals.
In fact, the acting skills of Chinese actors are generally poor. No matter how deformed they are, the only thing they are good at is being stupid-in this film, several actors are stupid many times, so stupid is very real.
Another way of deformity is strange logic. For example, when asking a question, no matter how others answer, he will say that others are wrong, and the strange logic he established is the only answer. For example, in "The Promise", "You are not running, but running!" In "The Evil Doesn't Suppress Righteousness", "Beijing the damn snow does not get such a heavy snow, where does the damn snow get such a heavy snow?"
Another simple and straightforward strange logic is to reverse black and white. Wang Zhiwen, "Don't cry! When we cry, it seems that we were wrong."
Also, the Beijing language often appears in half a sentence. Wang Zhiwen said to the woman, "Let's come to life!" There might be audiences who would praise it-touching.
The stranger logic is that it goes against human nature. "There will be no Zhao people in decades." Only a perverted choreographer can have this perverted brutality. A tyrant in history has never happened. The extreme perversion of the choreographer is to guide and force the children to commit suicide by jumping off the city wall-how gloomy Chen Kaige's heart is! Where did Chen Kaige learn this kind of conspiracy that makes normal people tremble?
Interrogating others with absolute truth or facts seems to always prevail. Wang Zhiwen asked Li Xuejian, "Could it be that you didn't feed Zhao Guo's milk?" This kind of question that does not need to be answered can be asked at any time, and the other party can accept any conditions.
Gong Li's sentence, "How good was when I was a kid!" exposed the Chinese screenwriter's guilt thinking that the love between men and women can only show naivety and reminisce about childhood. Similar pretending men and women also appeared in "Red Cliff" starring Zhao Wei, and Tong Dawei wanted to "ride high" with her.
The establishment of a single logic, "a rib", is another important manifestation of the thinking of the Chinese screenwriter Qianlu. "You killed me, you told the world that you are not my son! Only by killing me can you make the world believe that you are not my son!"-nonsense!
Li Xuejian's discussion of big countries and small countries is nothing more than China's conceptual pseudo-philosophies. All things can be explained in terms of size, length, and long-term, but they can often create the mystery of gold, wood, water, fire, earth, and spirit of qigong.
Another kind of pseudo-philosophy is to establish logic between thirteen unreliable concepts, the less relationship the better. Chen Kaige asked Li Xuejian affectionately, "The world is uncertain, so do you have no father?"
In Zhang Yimou’s "Heroes", similar discourses in the days of war, the common people, and Ansheng turned into a hoarse "peace!" This empty concept to please the common audience is of little use to foreigners, even the new generation of Chinese audiences. It can't be deceived either.
The repetitive prop, "A Picture of Four Seas," seems to contain grand symbolic meaning, but it is also too simple and straightforward. It is completely the method of the third grade elementary school students who have just learned to write.
"Give him a sip of water." The role of a rib is an important role in Chinese literature and art. No work can be separated from it-dull, dull, stubborn, and rigid. Of course, if a rib can be a disguise, this is also what choreographers are good at-the opposite. Or, the role of a rib is a master of martial arts, which is artistic-contradiction.
Crude sound effects are another important technique used by Beijing choreographers. In this film, the gasping sounds are strange and weird, both nervous and flustered, but also deliberately distracted. There is also the noise when eating, which makes the audience nauseous. Making the audience uncomfortable has become an important method of Chinese directors-eating noodles, which has appeared more and more frequently in Chinese film and television. why? It's the easiest to make the audience feel uncomfortable when eating noodles. Eating noodles is enough to change the history of Chinese film development.
Abnormal emotions have won several European film festival awards for Chinese films. However, it was never there anymore, and it is impossible to have it in the future—because the deformity is neither art nor science, but a speculative conspiracy. The director of the conspiracy will use conspiracy as the axis to create characters. Everyone in this film plays conspiracy, and the little dwarf and the little blind girl are all skilled in conspiracy.
View more about The Emperor and the Assassin reviews
