[Reproduced] Li Jie: Impressions of Quentin's new film "Jiang Ge"

"Jiang Ge" is a successful commercial film supported by several big-name actors. If the film was shot fifty years ago, it would be a challenging classic. However, in the era when black people became American presidents, not to mention kitsch is at least conforming to the trend and being politically correct. The plot is fair (this may be the reason why Quentin won the Screenwriting Award), and there is nothing new in aesthetics. The ending is too Hollywood. Also derived from Western films, Kurosawa Akira's "Seven Samurai" in the 1950s was ingenious and took it to the next level. The 2012 "Jing Ge" was just a rear-end copy. If you want to say good-looking, it may not be as good as "The Quick and the Dead", which is also played by Leonardo.

Quentin deliberately used German cultural elements, such as Nibelungen ring, Beethoven music, etc., in order to make himself as deep as possible in "Ginger". Hamlet talked about philosophy with his skull, while Leonardo played with his skull to perform a racial discrimination that even American elementary school students know to despise. Culturally, Quentin is too far away from the essence of Germany and British tradition. Even the violent aesthetics, the British "A Clockwork Orange" is enough to overshadow Quentin's efforts.

Myths are the psychological prototypes of a nation, and mythological characters are the true shapes of a nation. Quentin's ignorance lies in the misconception that comparing a black slave girl to a princess in Germanic mythology can both please the black Americans and deconstruct the central discourse of European culture. As everyone knows, the black Americans are not used, and the Germans will not take it for granted. This is like comparing American cowboys to Xing Tian, ​​which makes Americans feel inexplicable and makes Chinese people feel funny. What's more, there is no metaphorical connection between the black slave girl and the German mythical princess.

Quentin's "Jiang Ge" is similar to Stephen Chow's "Kung Fu", both of which are piecemeal imitations. The cruel killing is complemented by Beethoven's "To Alice", reminiscent of the scene of Hobkins in "The Silent Lamb" where he enjoys the piano sonata and kills. The Skeleton Theory is copied from "Hamlet". The revenge of the Jedi counterattack is an overused model in Hollywood movies. Not to mention the many western cowboy elements, almost all of which can be found in countless westerns. That's it, I don't want to say more.

Quentin's films have been enthusiastically praised by many intellectuals in mainland China, which once again proves the semi-literate status of these people in terms of aesthetics. Most left-wing literature, academics, and art in Europe and the United States can always find a market in the mainland. From Sartre in the 1980s to Derrida in the 1990s. It's the same in movies. It used to be Oliver Stone, and now it is Quentin's Jiang Ge, who is fighting all over the world. To say that it is superficial is to exaggerate. It can only be said that it is very entertaining and will not be tired watching playing.

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