At the end of this movie trailer, a line of subtitles is printed: Family members are always family members. So is it possible to say the same: if you are not a relative, you will never be a relative? Okay, then who are we? What does it have to do with those things in your family? If our family also has dead people, there are many more dead than yours, but we can only serve as the background in a melodrama for the purpose of making money, as the living props that can be thrown away by people at will. Then why am I here to play with you? Is it just because you gave me one hundred yuan, or did I give you one hundred yuan? I'm sorry, I can only say that I won't be rich if more than a hundred yuan, and I won't be poor if less than a hundred yuan. Let's bye bye.
We have no way to measure such a movie according to the standards of a commercial movie. First, this is not a commercial approach at all. Does anyone do this? Shake for five minutes, then procrastinate for another two hours? Second, are you really embarrassed to make a pure commercial film with such a subject? You yourself have no sense of responsibility for this, but on the other hand you have to morally kidnap the audience. what is this? You are taking advantage of the advantages. Those of us who are backgrounds, props, and denominators can't even cry? In other words, we can't even get crooked after being "crying"? Is it counted as "cutting a kid"? Then I have to ask, what are you guys? After hacking a child, he was bloody and pulled out to beg for money?
Feng Xiaogang was very hostile. He was extremely impatient. He felt that he was good at making movies, but he had to get together with a group of people who didn't know how to make movies at all. boring. He imagined the heartfelt support of the people, and he felt that there was a perfect communication channel between himself and those people. Ok. . Perhaps all this can only be explained by the lifelike corpse still lying on the square today. When he waved on the tower, facing the crowds, he felt tired at the same time. A voice said in his heart, alas! What do they know. . . .
In the movie, we also saw the worship of this person. Not in Tangshan, but in the army compound. Feng Xiaogang said that this was Wang Zhongjun's idea: because he was so impressed by the scene at that time! Wang Zhongjun was a child who grew up in the military compound, and of course he participated in the mourning of the whole country. But did he know that in Tangshan that day, nearly three months after the earthquake, among the carrion and rubble, the people who had been forced to stay strong finally ushered in a moment of indulgent tears. damn it! Tears flew into a downpour!
It's a pity that Director Feng didn't want to film, but wanted to film Mr. Wang's feelings. . . Oh, by the way, loved ones! Do you know who is Tao Feng's relatives?
Another detail: When preparing the script, Feng Xiaogang found Liu Zhenyun and asked him to write the script for the earthquake. Liu Zhenyun said there was no time. I found Liu Heng again. Liu Heng said that there are many people holding earthquakes, so let's not join in the fun.
Awesome! It turns out that this "two Liu" is also the master who can "cut children".
One of the situations that is not easy for us to understand is, since there are such excellent works as "Mobile" and "Assembly Number" before, why did the level of "Tangshan Earthquake" fall so drastically? Feng Xiaogang's dependence on writers like Wang Shuo, Liu Zhenyun and Liu Heng can be seen. Without these, give him the helm, and he can't figure out where the ship will go.
Then, we saw a script that couldn't even pass the "parallel narrative". The two siblings, three narrative lines, a cycle of ten years, do not know how to write together. How did Zhang Jingchu grow up? Why are you pregnant? Why did you go abroad? Why did you marry a foreigner who is more than ten years older than yourself? Why didn't Li Chen go to college? Why have to run away from home? Why marry such a daughter-in-law? Can you become a big boss with three rounds? Xu Fan. . . . For whom are you defending yourself like jade? Enough to set up a chastity archway. Never move for a lifetime. . . . Where is there a home? In the early 1980s, half of the people in Tangshan still lived in the earthquake shed. The original place has been changed to a department store, so you'd better go to the department store as a salesperson, and by the way, you can get more placement ads. Why do you have to kneel down for your daughter when the mother and daughter meet again? The daughter is not dead! Should be happy! The sin of a lifetime can't be repaid? She is alive! Le crazy! If I can't wait to burn the house happily. Tired and crooked, do you guys know why there are such inconsistencies as "the mountain, the man, and the dog"?
How about Xu Fan's performance? Why can't I see it? You can never tire of a good performance, but I don't know who would want to watch her cry more than three times. I can't stand it again, this kind of performance is completely physiological. Shadow queen level? Forget it, stop bragging. Xu Fan’s radio has a very narrow frequency, so it can only accept two radios—one j traffic station and one art station. Just twist it back and forth, it's pretty serious, but there is only one word left: "false"!
Oh, having said so much, I realized to myself that it is because of this that we are considered to be "cutting children".
Okay, I just chopped it!
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Thirty minutes before the "Big Earthquake", the earthquake scene was about ten minutes away. After the earthquake, Fang Deng was adopted by Chen Daoming and his wife until Mao's death about 15 minutes. There were only five minutes or so to explain the relationship between Xu Fan and his family. All I remember was blowing on the electric fan and eating a tomato. This is really not enough! Even if relatives are always relatives, the audience in the movie needs to stitch these people together in their hearts. At a deeper level, the audience also needs to project themselves onto the screen to make themselves a member of the family. How about five minutes? Therefore, the family relationship of Li Yuanni's family has not really been established at all, so the bitter family drama in the following decades can only rely on hard incitement.
The earthquake scene was less than ten minutes away. Excluding the purple light flashing in the sky before the earthquake, the real earthquake scene was only about four minutes. How should the earthquake behave? For example, Zhang Jingchu, in a limited space, how can she express the inexhaustible rubble in her heart? This movie is really not suitable for performance in sequential time. Chen Guofu once suggested the extensive use of flashbacks and interludes, but Feng Xiaogang rejected it. Also, Feng Xiaogang's movies have always followed the timeline honestly from beginning to end. Again, the frequency is narrow.
I have given high hopes to this movie. In other words, I had high hopes for Feng Xiaogang. Because now almost no one tells stories as seriously as he does. You can take a look at what Jia Zhangke is doing, play with a few ideas in a 90-minute movie, and if you don’t have time to make a documentary, please ask a star to act in a pseudo-documentary. His ideas are very good, and his ideas are sharp, but he has no patience and feels that there is no need to tell a sufficiently complicated story. Feng Xiaogang has always been fine, "Mobile", "Assembly Number", and "If You Are the One" are all very good and very comfortable. Especially "Assembly No.", the scene in front of the grave is very powerful. I think a person can work so hard in a commercial film like this, so heartbreaking. He uses this attitude to do it one by one, and it will definitely be a good work.
"The Great Earthquake", Feng Xiaogang also tried his best, but unfortunately no scene can carry his strength. He is a considerate contractor, and he can express the works of several writers as closely as possible. He is almost a person with little independent opinion, and what he can accept is rarely monotonous-the frequency is equally narrow. Moreover, with the further success of his career, he believes in his choice more and more. Those things that he thinks are not worthy of concern are no longer concerned.
Speaking of the script, I just read the report and need to clarify. In the original script, there are many scenes inspired by Fang Deng and Fangda's growth process. The two clues correspond to each other. So I say that the script is inaccurate even for basic parallel montages. However, these interactive scenes were deleted in the film, which led to the fact that the two children were not side by side, and the clues of their respective growth were scattered. As a director, Feng Xiaogang should bear full responsibility.
Our sadness is that we even have only one Feng Xiaogang.
We have to have high hopes for such a person. When he disappointed us, he couldn't transfer his emotions. So I can only scold him hard.
But to be fair, aside from the big earthquake, Director Feng is really pretty good!
I like commercial films, but commercial films must work hard to be pure to be worthy of the audience.
A few months ago, when I saw the plot of the big earthquake, I told Lao Du that it was no problem that the film was over 500 million. That judgment is based on "Assembly Number" and "If You Are the One". Now I still believe that it is likely to have a box office of more than 500 million yuan, but for me, this matter has changed. I just think that if Director Feng is willing, he is not only overdrawing his credit. More importantly, he may have completely lost the opportunity to find his own position in life through movies-he will eventually become a fan of movies, and only love the practical things that movies bring him.
In fact, I don't want to put too harsh demands on Feng's film. We can only blame too few directors that we can hope for. Certain people can be directly included in the scope of "Xiqu Film Directors", and the play is still not very elegant.
Perhaps their article should really be turned over.
Li Hongzhang said yes, one generation will do the same for each generation.
Retire when you are done. If it drags on, nothing will come out. Why bother, so tired.
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