It is an abominable fault to mention the old things again. However, I still have to say that it is at least much better than the gorgeous costume films that the big directors took turns in the past two years. In other words, "Assembly No." explores at least one possible story. A possible story means that the characters’ deep emotions, psychological activities, behavior choices, various conflicts, and transitions are all things the audience can do for themselves. Possible loyalty, possible betrayal; possible persistence, possible giving up. This is how art moves people. For example, Sisyphus who lifts the stone, everyone can use the bravery and tenacity of life to push the stone to the top of the mountain once, twice, ten times, a hundred times, let it roll off, and then return. Go to the foot of the mountain and push again. However, repeating endlessly like this makes it seem impossible. Thus, Sisyphus's excellence is revealed here. It is that he surpassed the critical point of possibility, overcome the weakness of human nature, and reached the "impossibility". We all understand the weakness of human nature, such as Wang Jincun in the movie. Of course, we can understand the timidity of a tidy literary youth who first came to the battlefield to pee his pants, but he surpassed himself, picked up the gun, and sounded. Guns, this is so admirable. The reason why the overwhelmingly obscene period costume movie can’t move people, let’s not talk about disgust, at least it seems to have read a story that has nothing to do with us, because it is a completely closed narrative, the desire to pursue power, although everyone has it, But by no means everyone is born with a craziness to pursue power at all costs. He is born with a muddy appearance in gold and flowers. Such a story requires us to understand and empathize with it, so that our audience is also a group of people destined to be obscene. Therefore, such a film is not normal if you can understand it and watch it well. Therefore, from the return of "The Banquet", at least it can be seen that Director Feng is serious and respectful to the audience this time. And this is the premise for the film to communicate with the audience.
The brutal and heroic war in the first half was basically unquestionable. Who is not holding their breath, heartbeat, and dejected. The problem is that after all the deaths of Jiulian, through the ups and downs of Guzidi's life, the "everyone's sacrifice is valuable" that Feng Tao wants to convey, is there really a powerful example to make it clear? At least for me, I always feel that there is no clear and clear persuasion. For example, if everyone is really valuable, then when reading the list of ratified martyrs, I was fully prepared and heard 47 solemn names. Each name is condensed with the bravery and fearlessness of the warrior, and each name strikes, asking people about the choices of happiness, responsibility, and truth. However, the word "Wait" after "Wang Jincun, Jiao Dapeng, Jiang Maocai..." was really disappointing. Gu Zidi accepted the word "wait", which was disappointing. I think that every viewer will have the same patience and feel that the forty-seven names are not redundant. Since everyone is valuable, we must truly "everyone", and one person must be "everyone". I don't think this is a negligible error, such as a technical error. I just think this is the key to truly expressing an attitude. Since the "Assembly Number" hopes to show respect for the value of humans through the specific description of each soldier, showing that the death of any one person will cause irreparable pain, grief, and cause the specific other person to be irreparable. A lifelong nightmare to avoid, then, here, every, every, person cannot be replaced by the three words "everyone", cannot be concealed by the number 47, and cannot be covered by a five-star tombstone. Summarization should be three-dimensional and dignified, present directly with weight, and be remembered forever. In the final analysis, the so-called respect, the so-called love, and the so-called unforgettable, are all concrete, really love one by one, respect one by one, and unforgettable one by one. Because the end of life, death, the loss of love and beauty, also end one by one, death and loss. It is irretrievable one by one.
Therefore, perhaps it is the lack of this point, which weakens the undeniable significance of the independence of the 47 martyrs, but highlights the personal attachments of Guzidi, which makes people feel as if he alone is worthless without sacrifice. illusion. In the second half of the film, the audience was put aside again. However, in the first half of the film, they are no longer just the "brothers" of Guzidi, not just the nightmare of Guzidi, and not just the sound of the horns in Guzidi's mind day and night, they have become every audience's Brother, it has become a nightmare for each of us, the sound of regret and anxiety that entangles our hearts. Not only the millet land, but each of us also hopes that they will get the reputation and placement that the deceased deserve. Forty-seven names are not only an account of the Central Plains army, not only the first half and the second half of Guzidi's life, not only the account of the ending of a movie, but also the account of each audience. The soldiers in the trenches can be counted one by one, and the audience in the theater can also be counted clearly. All true feelings are one by one. Lonely and tenacious one by one. Refusing to be overwhelmed and forgotten one by one.
This is my obsession. I know that my strength is weak, and I can't do everything at a glance and love someone for thousands of miles every day. Commemorate people. I can only love one by one and remember one by one. I also hope that the brothers of Jiulian will be born, grow, wander, struggle, persevere, and eventually die more than Taishan. Guzidi retrieved the troops, retrieved the files, and kept the comrades from being unidentified, to missing, to ratifying their sacrifices. It was not over yet. Guzidi could take it a step further and demand that each name be recited solemnly. Because every death, there is a thrilling roar of vitality. I waited for this message to be clearly communicated in the movie, but it didn't. It was one step short of it after all. Realizing the existence of "individuals", Director Feng really wanted to show his ideological progress over the past two years, and he did show it.
It's just a little bit worse. It's not that I deliberately care about things, because everything that concerns everyone is worthy of care about. Two days ago, Phoenix News reported that the United States was building the World Trade Center and planned to engrave the names of each deceased on the wall. It was about how to arrange the names of the deceased. The government and the families of the deceased have always been unable to reach an agreement. The families of the deceased asked not only to engrave their names, but also to engrave their previous occupation and the floor where they worked. A memorial is so specific and true. Disastrous history must be meticulously investigated to the end.
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