Most genre films have a concept, and "The Martian" also has it, that is, "How a person can get out of desperation". This concept is actually very similar to the "Gravity" released the year before, but the way Thunder completes this concept is similar to that of Alfang. So Caron is completely different again. One of the most significant differences is that Lei Gong has injected more daily power into this sci-fi story, rather than dazzling "technical" (rather than technical). Yes, this "daily" description is of course from Andy Weir's original work. When it is visualized and presented on the big screen, it is due to the imagination and execution of the entire film team. To take a very significant example, when Mark Watney woke up from a coma alone, what we saw was not a person who was in panic and despair because of being in a barren land. On the contrary, Lei shared a series of smooth The action sequence completed Mark's first self-help, and this self-help is not a high-level "how do I leave Mars", its purpose is extremely simple-"stop bleeding". It can be said that this set of action sequences established the credibility of the movie, the behavior of the characters determines the direction of the event, and the daily operation reflected in the details determines the form of solution (even in the end, rescue Everything the team does, such as making bombs, is also basically confirming the daily strength).
Whether it's "The Martian" or "Gravity", they are all confirming the truth. No matter how big the problem is, the solution is laid out from a small detail. To put it bluntly, this is a process of breaking through and fighting monsters. However, the process of "killing monsters" in "The Martian" is too "ordinary". There is no complicated, high-tech instrument operation. In the first half of the film, most of the time we saw Mark eating, bathing, heating, Planting potatoes and other trivial daily details, and then, these daily occurrence environments-Mars, make everything different. It can be said that the daily life on Mars leads to two emotions-homesickness for the earth, and the exploration of unknown areas. Although this kind of "exploration" is passive to a certain extent, the achievements of this kind of "passivity" are more practical and pragmatic than most science fiction films, and are more authentic and credible. Therefore, I never think "The Martian" is an under-ambitious movie. I just want to say that the ambition of this movie is very "appropriate". It is a masterpiece based on daily life, but far higher than daily life.
In fact, Mark in the film ridiculed more than once. He is now a colonist of Mars. He jokingly calls his Captain Yellowbeard. But I feel even more that because of these terrific daily details, Mark’s behavior on Mars has been plated with a divine brilliance, and all the details, those potatoes, dust, rover, solar cells, and linoleum, are all due to this. And is infiltrated with complex and warm emotions. From the beginning to the end, "Martian Rescue" did not show any objects such as the volleyball in "Legend of the Deserted Island", but all the props mentioned or not mentioned above have all become a collection of this volleyball. We can see the series of actions that Mark made when he finally bid farewell to Mars. They were very concise and powerful, but the emotions in them were mixed. We can also see that even though Mark, who finally flew into space, could face the stars of the universe directly with few protective barriers, Lei Gong still did not deliberately exaggerate the vastness of this "enemy" or the shock that rises in Mark's heart. , Because these large or small emotional forces are all implemented in every corner of the film, in the trivial, daily details.
Finally, I have to sigh. When I was a child, I read "Robinson Crusoe" without realizing the greatness of this work, but now I finally understand that the true greatness may not only stay on paper, but also let others The great work grows steadily in the set of templates it provides; another offensive sigh, the last rescue paragraph is almost the most beautiful survival scene I have seen (because I really haven’t thought of anything else for the time being), In the end, the two people hugging each other and the clues floating in the vacuum world make everything look like a dance, and the return of daily power to the daily life itself is also like a myth.
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