Therefore, from the perspective of the development of Chinese movies, the Chinese people have long been tired of films that over-extend national pride. The anti-Japanese films or heroic films of the past have long disappeared. Well, no, the broad audiences "The contempt proves the aesthetic level of Chinese audiences on the level of national pride. Chinese audiences began to be able to view objective facts rationally, demand facts, and even demand more credible creations. South Korean audiences have to say in this respect that they are far behind, especially for many historical movies. I am embarrassed to watch them. The rendering is a bit too much, so I won’t name them. But anyway, I still have a sincere attitude and look forward to watching it, hoping that Korean movies can really get out of the small circle of national parochialism.
Sure enough, after watching "Asura" last time, I can feel the huge progress of Korean films blatantly running away from the national parochialism. Although the previous films such as "New World" are also excellent, I can still feel a little bit. With a greasy taste, the story and character design of "Asura" are more real. Of course, I have never been a gangster or a policeman. The truth I am talking about is the truth that our audiences are willing to believe.
Watching "Secret Agent" this time was purely attracted by Song Kanghao. The sign, he couldn't make a mistake in the movie, but at the beginning I retreated. Will this anti-Japanese movie make me sick again. But the facts are different from usual. It’s higher than the "Assassination" and I don't know where it is. Take the time to watch the "Assassination", yes, there is also the "Incheon Landing".
Although the storyline of "The Secret Agent" itself is not creative, it is tense enough, with a complete structure, sufficient suspense, and a qualified commercial film without any problems. However, it is commendable that although it is an anti-Japanese theme movie, this film takes the anti-Japanese war and the rendering of national sentiments as an auxiliary carrier. The film more shows the audience the deep spy war whirlpool centered on the "traitor" played by Song Kanghao. The true psychology of the person. Other patriots or traitors in the film are more typical settings, and Song Kanghao's Li Zhengchu is a very creative role setting.
Li Zhengchu was an outright "traitor" from the very beginning. He was not a "traitor" disguised as a patriot who hid and had big plans. It is true that he chose to be patriotic in the end, but the reason for instigating rebellion is not that like other films, the national character is like dry firewood, which burns flamingly when touched by a few words, but the oppression and distrust of the Japanese, plus the Yilietuan The threat of, and gradually led to the little bit of patriotism that should be hidden in everyone's heart. Such a patriotic change is more real, and it is also a process of releasing patriotic enthusiasm acceptable to the audience. It is neither exaggerated nor hopeless. In the next series of patriotic actions, Li Zhengchu always swayed and did not show that unwavering patriotic passion. His patriotic decision always accompanied you to give a push. I kicked it. It wasn't until the end that he showed a mature, unhesitating execution ability.
Although the audience has studied Lei Feng, Huang Jiguang, and Dong Cunrui, we don't want to see heroes like that on the screen. We don't understand, we prefer to see heroes in reality. How many people can be fearless on the battlefield, how many people can see death as home under torture, when faced with the rain of bullets, corpses all over the field, and their own life or death in doubt, how many people can do it without any sense of fear? It's too weird and outrageous. It doesn't conform to our perception. The audience wants to see what they can understand, not a god-like existence that has no resonance at all. Adding so little bitterness to the traitor and so little cowardice to the hero is more in line with most people's perception.
The first praise of this film is that it can change the past and wrongs and put the anti-Japanese theme that exaggerates the national arrogance (that is the anti-Japanese theme) to the second line and give way to the characterization; the second praise is the close to truth of Li Zheng's Portray. It seems that Korean films have begun to learn to go on the right path. I really hope that they can create more films that meet the audience's tastes, more recognition, and less education.
View more about The Age of Shadows reviews
