The exaggeration and magnification of the traditional rules of Chinese officialdom in "Nine-Pin Sesame Official", the ubiquitous innuendo and parody in "Domestic 007", the parody of historical figures in "Tang Bohu Dianqiuxiang", the bitter fate of little people in King of Comedy The descriptions all prove one point: the so-called nonsensical style is actually a refinement and deconstruction of real life. It seems to be imaginative, but in fact it has nothing to do with reality.
Postmodernism, it is not just Xingye alone. It also includes the credits of the script and the director. For example, Mr. Wang Jing. Postmodernism, in fact, is essentially the "Fu Bixing" in the Book of Songs. In the
dreamy and blurred Journey to the West, the classic foundation of "the lines that once had a love" is also based on the opposition of the dual world, not the chaos of the world. Good or bad settings. Love is still pure, good and evil are still clear. For love, family affection, right and wrong, Zhou Xingchi never deconstructs and spoofs. The confusion of "Journey to the West" is only its expression method-like the style expression of reading archives in a video game and traveling back to the past through time and space, which has nothing to do with the script.
Xing Ye's postmodernism also includes Zhou Xingchi's performance techniques - a small character who uses the wisdom (or cunning) of a petty citizen to solve many seemingly difficult problems under the harsh conditions of following the crowd and the harsh environment. Big problem solved. Maybe two-faced, maybe smart, maybe the original purpose of doing things is just to make beautiful heroines. What seems like an incomparable bastard, Teacher Zhou Xingxing can act in a serious and righteous manner.
－－－－－－－－－－The dividing line of Changjiang No. 7－－－－－－
When a postmodernist director and actor, filmed such a harmonious and mainstream film as "Yangtze River No. 7", in addition to Apart from the universal problem of the gap between the rich and the poor, you can't even see any malicious deconstruction and satire of reality.
The arrangement of the plot can be so outrageous that it is not postmodernism or modernism to let the children of migrant workers go to aristocratic schools to study with their children. This fairy tale is so cruel, even more "harmonious" than Grimm's fairy tales: no poison, no stepmother, no prince and princess kissing, no dead king, terrible witch, no foul language and spoofs, in this optimistic movie of Stephen Chow In the movie, the only discordant shots are probably a few fights and a chandelier wrapped in red cloth that suddenly falls from the ceiling)--looking like a female ghost hanging beam.
There are several possibilities to illustrate the change of Stephen Chow's style:
1 For example, age.
It is said that the angry art teacher has either passed the age of not being confused, or has passed the age of knowing destiny, and has changed more or less. Of course, this may also be related to changes in the creative environment and changes in goals. When I was young, I always shouted angrily, even at the expense of the box office for applause. When you become famous, your mind is not so angry anymore. Teacher Zhang Yimou has filmed "House of Flying Daggers", and teacher Chen Kaige has filmed "The Promise". "Changjiang No. 7" does not affect Zhou's status in the arena.
In the Chinese film circle, there are few people who have achieved such a balance between applause and box office like Zhou Xingchi (Liu Weiqiang doesn't know if it counts). Either art is high and low. Or simply vulgar in the end, making money first.
Xingye born in 1962 may not be so easily angry anymore. Xingye born in 1962 has established his status in the arena. Xingye born in 1962 can make a lot of money just by making movies, so he Just tell us the simplest story, the simplest story + his name, and that's enough.
2 For example
, the dictatorship here is not just emotional. For example, Zhu Yin does not want to be shrouded in the shadow of Stephen Chow's dictatorship and ambition. In the end, it can only end in a breakup.
Including business. Wu Mengda, Luo Jiaying. Many of Zhou Xingchi's people around him have left him, and some even turned against him and went to court. Zhou Xingchi, who "betrayed relatives and separated from each other", has almost no old friends around now.
Perhaps in the two films "Kung Fu" and "Shaolin Soccer", Stephen Chow's director + starring made the limelight, so he has no doubts about his ability. In "Yangtze River No. 7", he is again the starring role (probably one of them) + director + producer, but this time, he doesn't want Uncle Da and Xie Xian, and there is no bright spot of Lin Xue and the chartering public and chartering wife.
In Changjiang No. 7, he chose a little friend, maybe he could control it. He chose some young faces, and Zhou Xingchi probably believed in this: as long as he is the protagonist, he can find a few supporting roles to become popular.
Even if it is like a flower, eight taels of gold are at this level.
It's not putting on airs, but not being good at communication. This is the evaluation of him by people in the circle.
"The reason why Zhou Xingchi is difficult to cooperate with others is not all because he likes to put on a star air, but because he is not good at communicating with others." Zhou Xingchi has high requirements for film shooting, and his own talent in this area is also very high, but often he He knew how to do it, but he didn't know how to express it accurately. When many people did not meet his requirements when working with him, he was often very angry, and would get angry on the set, throw things, and make others lose face. This is someone who disclosed Zhou Xingchi's character characteristics.
In Changjiang No. 7, Zhou Xingchi fried countless cold rice, of course, in a better way, he paid tribute to himself countless times. In fact, he could be a little more generous, and let Uncle Da come to pay tribute to "coming out to see God", let Luo Jiaying pay tribute to "Da Vinci", and let Wang Jing or Li Lichi guide him, instead of having to do everything by himself.
Perhaps "The King of Comedy" in 1999 was a milestone in Stephen Chow's acting career. Since then, he really believed that he was "The King of Comedy" and would rather be harsh on himself than trust others. heroine? The newcomer will do. supporting role? Just find anyone around you. The iron star, the flowing lineup. This is the Stephen Chow movie of the 21st century.
3 For example
, there is always a restricted area in the hearts of people in the restricted area that you cannot touch.
He suffered a family divorce in childhood. "Father" is actually a very unfamiliar concept to Zhou Xingchi. The father-son relationship in "Changjiang No. 7" is half a careful attempt and half a perfect imagination.
Everyone has their own life experiences, and there are areas where they are good or bad at portraying. You can't ask Zhang Yimou to shoot urban love, Feng Xiaogang to shoot reflection and exploration, and you can't ask Wang Shuo to write the main theme.
"Yangtze River No. 7" is a movie that describes father's love. If you need to shoot the taste of pure Stephen Chow, then the object of Stephen Chow's spoof may be the father-son relationship. Hamlet, okay? Not in Oedipus? Wang Shuo's novel "I Am Your Dad" is also OK? These themes are suitable for Stephen Chow to play and interpret.
But "Yangtze River No. 7" is suitable for all ages. I would rather hope that it is just because Stephen Chow is unwilling to deconstruct "father" and "father-son relationship", just to satisfy the imagination of the next childhood desire for perfect fatherly love and bury gray memories. In this sense, then, he simply refuses to joke because of the sanctity of the Father's love. So Zhou Xingchi's next movie can actually be looked forward to. The harmony of "Yangtze River No. 7" can only be seen as a good dream, a burial of a past while dreaming.
In fact, the role of Stephen Chow's father in "Yangtze River No. 7" is not in place, perhaps because he is not married yet, or because he did not feel his father's love in childhood. But in Changjiang No. 7, he poured more emotion into the child's first-person perspective. The child's play is better than the father's, whether it is the desperation without toys, or the desire to buy a robot dog, or the occasional optimism, all I have experienced similar experiences.
If Zhou Xingchi did not use a romantic approach, but a realistic attitude to express the feelings between father and son, for example, he could make me experience everything in the past: for example, the inferiority complex in the school, the fear of seeing the teacher , the anxiety after returning home, the emotional autism and sensitive resistance, and the hostility to strangers. Even as long as the dead father is not resurrected in the end, the comedy is turned into a tragedy, and Stephen Chow makes a tragic movie, I will give this movie a high score.
But Zhou Xingchi is a soft-hearted person after all. He can let Zhizunbao drop Zixia, but he is reluctant to let a child lose his father in his childhood. Maybe his father is the restricted area of Zhou Xingchi's mind.
－－－－－－－－－－－－－－Summary dividing line－－－－－－－－－－－
When a postmodernist film master's film appeared with the harmonious lines of "reading hard and being a useful person", I really had mixed feelings. The nonsensical style has disappeared, and even a classic line that can be quoted has not been found. The warmth of romanticism has replaced the cruelty of realism. Laughter and crying still appear in the theater, just because of endless sensationalism.
From the point of view of a movie enthusiast, we have missed a classic of Xing Ye. But from the perspective of educating children, we have gained another theme movie that is suitable for all ages.
Stephen Chow couldn't get his father's education in his childhood, so at the age of 46, he chose to shoot a movie to educate all the children who watched this movie. I don't know if this is a way of making up for his father's dereliction of duty. Perhaps only by experiencing such a broken family first-hand, the audience who can't bear the past can understand it - set up a model with a story that is more harmonious than Grimm's fairy tales, and then pay tribute to the world's bastard father. (End)
－－－－－－－－－－The dividing line of facts does not make judgments of right and wrong－－－——
Li Xiuxian single-handedly brought Zhou Xingchi into the film circle. Zhou Xingchi's film debut "Pioneer of Thunder" is Li Xiuxian's work. But it is said that after the star became popular, he gradually became dissatisfied with Li Xiuxian. Cheng Kui'an, who was also brought into the industry by Li Xiuxian, once publicly criticized Zhou Xingchi: "If I were on the
scene would definitely beat him hard. I am very dissatisfied with this person (Chou Xingchi)."
Wu Mengda and Zhou Xingchi parted ways and did not continue to cooperate. Uncle Da said: "I have no misunderstanding with Xing Zai, he is just more nervous about his work."
Luo Jiaying publicly stated that Zhou Xingchi is a genius, and he was forced to fail to cooperate later.
Li Lichi and Stephen Chow co-directed "Domestic 007", but a "Shaolin Soccer" made the pair suddenly have a bad relationship and parted ways.
Tian Qiwen and Zhou Xingchi got acquainted with Zhou Xingchi since the filming of the film "Nine Pins of Sesame" in 1994. After he joined the Xinghui company founded by Xingye in 1996, the two cooperated to launch many good plays, such as "The God of Cooking", "The King of Comedy" and "Shaolin". Football" and now Kung Fu. But the two couldn't work together in the end.
The original martial arts instructor of "Kung Fu" was Sammo Hung, but within a few days of his arrival on the set, he had a feud with Stephen Chow, and Sammo Hung walked away.
Many newcomers signed by Zhou Xingchi, Li Hui has been silent after her appearance in "Shaolin Football". In recent years, she has only been seen in some local sitcoms in Guangzhou. It is said that she has to work part-time in a magazine to earn a living; And "Xinghui" even turned against each other and even went to court.
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