Not to mention the United States in the same Western cultural background, even in China, Auschwitz’s popularity is not low. Not to mention the records in historical textbooks, the disappearance of red in "Schindler's List" and the Jewish father kicking the Nazis in "A Beautiful Life" have long become an accusation that transcends race. No art form is more powerful than film in recording suffering.
Of course, the atrocities of Japanese militarism represented by the Nanjing Massacre are not understood by the Western world. It is not mainly because we did not make good enough movies. The deep-seated reason is that the discourse power has been in the hands of the Western world since World War II. Their focus is mainly on the European battlefield, so they spare no effort in reflection and vigilance against Nazism. As for the deep sufferings of Asian countries, it seems that they come from another planet and should be given appropriately. Compassion is enough. In addition, Japan has always had an ambiguous attitude toward repentance, deliberately covering up and denying the crime of aggression, which has also confuses the public to a large extent.
At the same time, we entertained ourselves by performing anti-Japanese dramas featuring thunder hidden in the crotch and devils in the hands of tears on our domestic TV stations. Today, the anti-Japanese drama has long been cast aside, but can you see how many dignified provincial satellite TVs are still broadcasting similar themes? It can be judged at what level the TV is at by playing the episodes. Occupying a wealth of resources, corpse positions, vegetarian meals, regardless of political correctness, but the depravity of art.
And South Korea, which is also suffering from Japanese aggression, at least does a lot better than us in complaining about the image.
For example, this "Warship Island".
Gunkanjima, formerly known as Hashima, is located 4.5 kilometers west of Nagasaki, Japan. The island is rich in coal mines. It has a history of mining during the Meiji period. It was later operated by Mitsubishi Corporation and became an important coal export base in Japan. It was closed in 1974. On January 5, 2009, Japan successfully applied for the heritage, and UNESCO included it in the "Kyushu•Yamaguchi Modernization Industrial Heritage Group"; in 2015, Gunkanjima successfully applied for the "Meiji Japan Industrial Revolution Heritage" and became a famous Japanese heritage site. Tourist attractions.
And this so-called "world cultural heritage" is buried in the souls of countless Chinese and North Korean laborers who were forcibly conscripted to the island during World War II.
I didn't understand this history, and I never even heard of Gunkanjima until the Koreans taught me this lesson.
The shooting of "Gunkanjima" was made for the success of Japan's heritage application. Director Yoo Seung-wan, starring Huang Zhengmin, Su Zhixie, and Song Joong-ki, made up such a lineup. I believe that even if it comes from the operation of capital, it is also a capital operation with warmth. The movie tells the story of a group of Koreans under the Japanese colonization who were deceived to the warship island and forced to work harder than life. Finally, led by members of the Liberation Army, they rose up against the eve of the atomic bomb in Nagasaki.
The narrative of the film itself is not very good, especially the first two thirds of the plot, which is too calm, and there are too many points to focus on, so that every part has a feeling of water injection. The three main characters all have a theme. Huang Zhengmin wants to show his father and daughter love with his daughter, Song Joong-ki's soldier in the Liberation Army wants to string up the whole process of resistance, and Su Zhixie wants to stage a lonely island love before the survival crisis. The three played well in their respective roles. Of course, Huang Zhengmin should be a higher level, especially the rivalry between him and the daughter played by Jin Xiu'an, which caused tears everywhere. But the diversification of clues undoubtedly greatly disperses the most important thing that movies of similar themes should have-the suffering of the oppressed. Only when the performance of the suffering is adequate, can we accumulate sufficient tension to meet the eruption at the last juncture. "Gunkanjima" is obviously not enough at this point. We only saw water on the dormitory beds and cockroaches in the food, and the women were dragged to be comfort women, and they were just a little bit watery. In the end, the fuse of the resistance was dramatized, the image of the spiritual leader was subverted, and everyone embarked on the road of resistance. It can be said that the development of a series of plots is step by step, and it has not accumulated enough explosive power.
Perhaps the director is also aware of the shortcomings of the previous part, so he has to work harder in the battle scene of the final resistance. The war scenes in Korean movies are not covered. Although there are no airplanes and cannons, the cruelty of death is vividly demonstrated. A large number of laborers were hit by bullets and died silently; the trail to the ship of life was extremely crowded, no one said. What kind of humanitarianism is life if you squeeze up, and death if you don’t squeeze up. The climax of the gradual progress, first Su Zhixie and the comfort woman lover hugged and died, then Huang Zhengmin was shot, and finally Song Zhongji beheaded the evil head of the director, and everyone succeeded in breaking through.
So this movie is a standard Korean theme. If you consider Song Joong Ki's brave performance, it is not impossible to call it an "anti-Japanese movie". But it is also a successful film. Its purpose is to let the audience understand the history of Gunkanjima, remind people not to forget the countless crimes of Japanese militarism, and inspire people's patriotic enthusiasm. It did all of this, and taught the Chinese a lesson. There are not only North Koreans, but more Chinese laborers on Gunkanjima!
"Why can't we make such a movie?" Such a question is very low, meaningless, and I can't answer it. I can only explore in this movie why the Korean national disaster can touch the Chinese. Because it starts from the human point of view, and looks at war from the perspective of an ordinary but true individual. The protagonist, Huang Zhengmin, looks like a rape, without any feelings. In the troubled times, it is the most important that he and his daughter can survive. For most ordinary people, isn't this a good emotional resonance point? At the end of the film, the dying Huang Zhengmin entrusted Song Zhongji to buy iced soy milk for his daughter, and I couldn't help crying. The love of licking a calf is a deep feeling, and it is also the best and safest method for movies. I think at the end of "Travel in Busan", before the male protagonist Kong Yoo committed suicide, recalling the situation of her daughter when she was born, and happily died. I believe in this choice: I can die with regret, but as long as the child is alive, there is hope, whether the enemy is a zombie or a Japanese.
By the way, in "Travel to Busan", Gong Yoo's daughter was also played by Kim Soo-an. The little girl is not so beautiful, but the acting is so good that she even overwhelmed Huang Zhengmin's aura. So the director gave her the last shot: looking directly at Nagasaki, which was bombed by the atomic bomb.
From the look in her eyes, we can read many things that the people of the nationalities who have been invaded by Japan want to say.
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