It is not an exaggeration to say that "Haeundae" is a Korean-speaking Hollywood movie, but using "Hollywood" as a set is easy to cause misunderstandings. We might as well put it another way: "Haeundae" is a type of movie that fits the characteristics of the movie and should be a movie. It is a relatively mature film work that is required by the industry and contains ultra-regional universal ethical values. In contrast to this summer's Chinese-language movies, when Zhang, Chen, and Feng's darlings have temporarily died down, they are completely dependent on their compatriots from the SAR to come up north to support the entire market. In the summer of 2009, the mainland film market is full of flowers at first glance, and even the box office of "Zero Dog" is going up in nine figures. However, this is largely due to the massive increase in the number of screens, which has little to do with the quality of the film. Moreover, apart from "Zero Dogs" and "Chasing Shadows", which have smoothed out all the characteristics of Hong Kong films and pursued a vulgar route, there are only "McDull" and "Eavesdropping". It was broken into an anti-corruption film.
The gimmick of "Haeundae" is of course disaster special effects, but the expression of ethical emotions is not weak, only humanitarian disasters are real disasters - and the detailed description of human relations and emotions is the success of "Haeundae" place. The public version I watched was about 90 minutes long. The first hour was spent explaining the emotional entanglement between several pairs of characters, and the upcoming tsunami was just a simple background to embellish it. Until the last moment of disaster, the personalities of several groups of characters were brought into full play. Incisively and vividly - of course, the fate is also different. "Haeundae" is on the right track of the screenwriter. You can say that the rhythm of the whole film is slightly out of line, but "The Day After Tomorrow" and the upcoming "2012" disaster films are all in this mode, unless you want to make a "Life and Growth" "Flow"-style Abbas movies, otherwise it must be a structure in which human relationships are the main course and disaster stunts are the ingredients.
The story of "Haeundae" is not difficult to tell, but it is also interspersed with several pairs of characters: a divorced middle-class couple, a grass-roots fisherman in love, a young girl with no scruples, a kind-hearted rescue boy; , to the young girl who is in love, to the uncle who is in crisis in mid-life, and even the old capitalist who has been criticized. All kinds of people, with different classes and backgrounds, finally gathered before the unprecedented disaster, which also raised the emotional variation of ordinary people to an unprecedented height. In contrast to Chinese-language films, we have to admit that our core competitiveness-visual technology and script editing are being left farther and farther away. Don't talk about the connection of several pairs of characters, and even the story of a family and a protagonist is not succinctly told. From a creative point of view, this chronic illness is probably down to the fact that the Chinese-speaking directors (screenwriters) cannot speak human words or tell human stories, and are simply numb to the joys, sorrows and sorrows of human nature—at least they are dull. In fact, "Haeundae" also mentioned disasters such as the tsunami in Southeast Asia and the Wenchuan earthquake. It is conceivable that the direct inspiration of this film should come from the tsunami in Southeast Asia, but the reality of life rarely touches Chinese filmmakers. With such a big event in Wenchuan, the entire Chinese (Mainland) film and television industry is basically aphasia, except for political propaganda films that birds do not watch. Things that happened 20 years ago cannot be filmed, things that happened 40 years ago are not allowed to be filmed, and only the creation myth of 60 years ago has been concocted again and again to decorate peace. In such an environment, the Chinese directors seem to have lost their right. Immediate perception of life.
In fact, "Haeundae" is not a classic. Looking at the new film plans of the world film industry, Chinese films have fallen behind in terms of imagination, theme types, artistic innovation, etc. We are making progress, but the problem is that others The progress is faster, compared with the two, we can only pant and take care of ourselves at the end of the tide of world cinema (of course we still have hordes of tribute films as one of the wonders of world cinema). The progress of Korean films in the past few years is obvious to all. Looking at the Korean film industry, their screenwriting ability, stunt skills and genre excavation have fully surpassed Chinese films. If this continues, the false and prosperous painting skin of Chinese films will be dismantled sooner or later. The distance between Chinese films and Korean films will also form an insurmountable gap like the Chinese men's football team and the Korean men's football team.
Productivity needs to be liberated, and artistic innovation needs to be liberated even more. It is no longer possible to make small fights - what Chinese movies need is probably an all-round tsunami.
Perhaps, it's not just movies that need a tsunami.
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