Needless to say, the highly violent images, the hopeless story, and the sobbing of the audience made me very depressed. What was even more depressing was watching the nationalist enthusiasm ignited in public places: the Japanese soldiers successfully attacked the city, while taking a bath and resting by the riverside and dancing the hometown dance, the suicide bomber on my right shouted aloud " "Fuck you", which also confirmed my judgment on him; the only gentle spokesperson in the film, the comfort woman Yuriko, when she showed a mouthful of white teeth, a female audience behind me blurted out, "Really your mother. ugly". And a question I kept thinking about while watching this film was: Why did Lu Chuan make such a film? What did he want to express by making this film?
What this movie advertises is the high drama of authenticity and non-patriotism, and many people also shouted hello for this. But I want to ask, can it be a good movie just by being truthful and some kind of humanitarian sentiment that sometimes seems too deliberately different from the propaganda of the past? I admitted it was true, and fully believed that what Lu Chuan photographed was what happened in Nanjing at that time. But this film is like a sadist, providing the audience with details of the hanging heads, the naked corpses of Chinese women, and the children thrown downstairs, providing them with horror and despair. What about others? there is none left. Apart from a hugely exciting and horrific visual experience, Lu Chuan gave nothing. His maverick, humanitarian perspective based on ordinary Japanese soldiers is almost useless, and all the drama involving Soldier Kadokawa seems contrived and dragged by being too forceful. What's more, the massacre will never be a good theme for explaining humanitarianism. For the audience under the pressure of national emotions (even if only a little), it is impossible to balance their emotions between the human nature and the pain of the skin, which can only bring them irritability. .
I don't want to repeat those well-arranged and tirelessly stimulating scenes, which are no different from "twin beautiful women dance with snakes, dwarf men spit fire and swallow swords" in the country fair. They sell national disasters, and they naturally carry the self-superiority full of benevolence, righteousness and morality. feel. Lu Chuan made Nanjing in 1937 into a film just to show the disaster. To say that it is a disaster film is polite and tactful, just say it directly, "Nanjing! Nanjing! "It's just a "black scenery film", it looks kind, but in fact it has no morals at all. It uses the most vulgar and curious methods, and by hurting all the audience, it builds up its own rotten archway with compassion for the heavens and the people.
After thinking about it, I feel that this film has only two functions: one is to preserve it as a video material without ideological tendencies, and the other is to use explicit sensory stimulation to arouse fanatical nationalism. If the subject matter is not available, this film, which should be the most stringent entry level in any country, will never pass the trial in China. The country's double standards (no standards) in cultural censorship have made it impossible for a film like "The Devil Is Coming", which depicts human nature in every detail and is full of the director's unrepeatable outstanding personal talents, to be unreleased because of "political incorrectness". "Nanjing! Nanjing! " Such a loveless "black scenery film" has become a media and box office star. The audience is swarming, how can you deny the drive of the "heavy taste" that the film has repeatedly advertised in secret? I can't forget one time "Nanking" was broadcast for free in all Beijing cinemas for a week. My girlfriend and I went to see it but the show was canceled because no one booked.
If it was sealed in the filing cabinet, then "Nanjing!" was born 72 years after the incident. Nanjing! "It's a treasure. I hope that the same level of "Beijing!" will appear in 2061. Beijing! ". If it is released as a commercial film, then it will be a liar who deceives the world with a sad expression of incomparable hypocrisy, and such liars will never be extinct in China. If it is shown as a patriotic movie on the Central Six in December, then I will give my most sincere middle finger to the moral standards of the cultural management department of the People's Republic of China. If a primary school principal clapped his head and decided, "In order to give our students a vivid patriotic education class, this afternoon, we will collectively watch "Nanjing! Nanjing!" at the Workers' Cultural Palace," then, how did PK14 sing? - "Let me rot."
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