Before evaluating "Return", I want to start with another movie. If I hadn't experienced this incident, maybe I would have a different view of Zhang Yimou's films, or hold a lower standard of measurement. In 2008, director Xie Jin passed away and many cities held retrospective exhibitions. I was able to watch the "Reflection Trilogy" ("The Wrangler", "Legend of Tianyun Mountain", "Furong Town") on the big screen. Among them, the experience of watching the movie "Legend of Tianyun Mountain" is the most unforgettable. The unforgettable reason is not because I watched crying. In fact, when it comes to serious evaluation of the movie, then tears are an absolutely cheap existence. Therefore, I really disagree with the tearful rain propaganda in the early stage of "Return". During the screening, I didn't know if it was copying aging or filtering of sensitive words, anyway, the film was suddenly broken in the middle of the show. An old man stood up suddenly and shouted to leave the scene. He said that he is an old rightist who has not yet been rehabilitated, and "Legend of Tianyun Mountain" should be released every year and every day. He came here specially today, not wanting to be so disappointed. The old man's words were fierce, and other middle-aged and elderly audiences in the venue persuaded him, and the screening was over again. After the screening, the old man was still emotional, crying while talking. He said that the rightists had 550,000, and he didn't even take a look at the death of his son. The Communist Party owed too much... the people around him were so sad that they went up to comfort him. Regarding the tears that were wiped away, I am more willing to believe that the tears of the old man are not only for the movie, but for the lives that have been destroyed-including himself. That desperate appeal reminded me of a scene in "Gorgeous Holidays": the protagonist shouted loudly in the deserted street, please don't forget us. This Korean movie wasted a good subject, but it did not prevent me from remembering this scene. Please don't forget us. This is probably the highest evaluation of "Return", there is no need for tears to burst, no moral kidnapping. At the 2013 China Directors Guild Commendation Conference, Feng Xiaogang clearly expressed his dissent and dissatisfaction with the censorship, and hoped that the relevant departments would let go of the restricted areas of some themes and direct the spearhead against the Cultural Revolution. In April 2014, Oliver Stone did not hesitate to say that the Cultural Revolution should be filmed, exposing the true lie that is growing in Chinese movies. During this year, Zhang Yimou quickly shot a film on the theme of the Cultural Revolution called "Return." In "To Live", Fugui's tragic fate came to an abrupt end at the Cultural Revolution. "My Father and Mother", the background of the Cultural Revolution is indistinct and obscure. When it came to "Return," the Cultural Revolution was still just the beginning of a movie. If you compare Xie Jin 30 years ago, then, in terms of the sharpness of the theme of the Cultural Revolution, Chinese films have not made any progress, but they are also likely to regress. Some people say that the awfulness of Xie Jin's model lies in the moral probation and the turning of the great hatred into personal grievances. Then, the problems of "Return" are even more obvious. It turned the pain of anti-rightism and the Cultural Revolution into the suffering of two people and the trivial life of a family of three. The audience can only experience the helpless sorrow and sigh, just like that spoon that cannot be handled. Movies can of course be made into tragedies. However, tragedies can also be divided into superiors and inferior, and there are more differences in power. It's just that at this stage, neither Zhang Yimou nor Chinese films have such capabilities. When the film directly abandoned the life span and emotional pavement of Lu Yanzhi and Feng Wanyu, the highlight of "Return" became a traditional indoor family drama, one after another, with nothing to do with the era of painful trauma. Compared to the real TV series, it is clearly compact, black and dramatic. However, this level of stuff doesn't need Zhang Yimou's action at all, Feng Xiaogang is competent enough. For me, the real part of "Return" is probably the prologue of the Cultural Revolution. Because of the personal experiences and family tragedies that preceded Lu Yanshi, I have automatically made up for countless things. A tragic story. Those stories don't need images at all, just a few lines in black and white, enough to make people speechless. Compared with these stories, "Return" tried to draw out the memory of the Cultural Revolution and turned into a failed game. Of course I also remember the iron fence at the end. The victims of the Cultural Revolution were forever locked in the depths of memory. However, what I want to see is not Lu Yanzhi and Feng Wanyu in the cage, but the Chinese in the cage, exiled by memory and driven out by myself. As far as Zhang Yimou is concerned, the photography of "Returning" has nothing to say. Some people may call it "Returning to the Basics and Returning to the True", which clearly shows that this is a TV series of quality and sincerity. In the past, the favorite big red and big green were only left in the Red Book, Ballet and the Red Detachment of Women. Only in these pictures, you will feel that Zhang Yimou's images are provocative, still have the wildness of "Red Sorghum", and the desire for "Raise the Red Lantern". You can even think of the big red padded jacket on Zhang Ziyi in "My Father and Mother". Such a subtractive film has actually produced a famous 4K shooting, which is really different. If you really spent the equipment money, you might as well assign it to the makeup team and the visual effects team, so that Lu Yanzhi and Feng Wanyu's old-age makeup might look more authentic and credible. As for winter, it looks like it will be even colder. In terms of sensationalism, apart from playing music and chanting the soprano, "Return" has no other way to think of. It is said that Lu Yanshi sent Feng Wanyu to the station time and time again, each time it lacked sensational effect, but it was monotonous and dull. In "Legend of Tianyun Mountain", love is so moving. It is a movie that a weak woman suddenly bursts out with great strength and life. It makes people believe that there is truth, goodness and beauty even in adversity. The brilliance of the movie. As for "My Father and Mother", Zhang Yimou repeatedly rendered chasing and waiting in slow motion to enhance Zhang Ziyi's energy. And these powers, the brilliance of the characters in these characters, "Return" has none of them. On the contrary, on her daughter, her blind hatred for her father does have a profound contemporary character in it, which is a natural response of dark forces. In Lu Yanshi, I couldn't feel that he was determined to be a believer, and took the initiative to choose not to be Lu Yanshi himself. Movies could have strengthened this bizarre absurdity, and also highlighted the characters' personalities, making a fuss about names and identities. As a result, "Return" became Lu Yanzhi and had to be a believer because he could not be Feng Wanyu's Lu Yanzhi. In other words, the film did not strengthen Lu Yanshi’s self-sacrifice, and lost the sudden awakening of the original (because in fact Lu Yanshi did not love Feng Wanyu that much), it became a kind of last resort to seek perfection. It was a terrible downgrade treatment that made Lu Yanshi's life-long persistence become a moral model in the new era. The love that could have made differences and scattered, finally turned into a bloody tale of a couple who was inconclusive. This missed character change also caused the weakness of the play, forced Master Fang and the spoon on the back of his butt to become a false orgasm, and made many viewers return home in embarrassment. Feng Wanyu, who had lost his memory, stayed forever on the return date that could not be waited for, but the culprit who owed the couple in distress disappeared behind the iron fence. If the movie is just a mirror of life, then "Return" is obviously unqualified-even if it left us with portraits of Lu Yanzhi and Feng Wanyu, we should not forget it. However, just like the crying old man at the scene of "Legend of Tianyun Mountain", life is much crueler than the movie, and Lu Yan hasn't waited until the day he returns. 【City Pictorialhttp://chuansongme.com/n/483405】
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