This film is particularly obvious to take care of every aspect, which is a kind of utility. Learning a little from the east and learning a little from the west, the feeling is inconsistent, the sense of rhythm is not good, the ambition is very large, but the talent is lacking. This is still a technical problem. The biggest problem is that concepts come first. Japanese army? There are also conscientious ones, and in the end they couldn't bear to commit suicide (Kadokawa wrote the most in the Japanese army). soldier? It's bloody, and the fight is at the last moment (the one played by Liu Ye). intellectuals? Weak, betrayed, and finally have a conscience, choose righteousness and awe-inspiring. woman? There are very brave ones. prostitute? It's not that "business girls don't know the hatred of the country" (it is said to have a historical basis, but it is deliberately expressed with a special sense of formality). foreigner? There's Mr. Rabe (downplaying his role, emphasizing Chinese valor). child? There was a kid who escaped, and you saw him laughing—to tell the truth, when I saw this moment, I felt the most nausea, what do those who say "true" think? Someone must have escaped that, but do you believe that an adult and a child who have just been on a trip to hell suddenly laughed so contrivedly? Also picked the grass to blow the hair! This bright tail, Hollywood-style ending, I know I'm learning, but unfortunately the director's skills are too poor to be convincing. I'm very relieved that the two of them can escape, can you stop letting them pretend? Speaking of human nature, any normal human reaction at this time would not be so gentle blowing on the little flowers and grass, pretending to look at each other and laughing at each other! Numbness, running fast, even hysterical laughter, walking silently, all possible, suddenly came the MTV-style picture, I vomited (or in the words of a young friend: I was struck by lightning). The film does not shy away from fiction, but it must be built on the basis of psychological reality. The hypocrisy of this unconvincing end scene is just one of the most obvious examples. There are many more that are not so obvious in the video! The above-mentioned Mr. Tang suddenly became righteous, and we couldn't feel any psychological development, so that the painful picture of a husband and wife parting and dying didn't move me at all, but I clearly felt that it was written and performed there. . Those wives are heartbroken, and suddenly righteous husbands are smiling and comforting. Alas, Americans still think Spielberg is kitsch. In contrast, of course, Si is a master! As for Mr. Tang's image---there are so many actors who can be chosen to play this role, I don't know why Fan Wei has to be used. Fan Wei is a good actor, but in such a tragic film, let's not talk about his comedy background Distracting people's attention (however he plays seriously), just talking about his image, also distracting people's attention. I'm really sorry, how can I see how Fan Wei can't believe it's a saying no
This is a small problem in the director's technical judgment compared to the twisted laugh at the end. However, I saw an article written by a film academy graduate, and he said it rightly: "Although the creator of this film has no problem in attitude and subjective intention, he has produced a serious deviation in the direction of creation, which makes him It has become a conceptualized film work. However, compared with the conceptualization problems that often appeared in domestic films in the past, it is not the kind of conceptualization that blindly shows how brutal the Japanese are, nor is it a narrow-minded nationalism that blindly emphasizes revenge. Conceptualization. On the contrary, it avoids all the possible faults of past films. Then, unknowingly, the film slips to the other extreme, which I will call conceptualized humanism. , the humanitarianism that is taken for granted, the humanitarianism of the literary accent, the romanticized humanitarianism that has nothing to do with reality. This is not a question of morality, but a question of creative thinking. This kind of creative thinking that slides to another extreme makes "Nanjing! Nanjing!" "Although the details are as real as possible, but the whole is false, it is a typical pseudo-realism work. I must say that I am a patriot just like Director Lu Chuan, and I have strong feelings for the country and the nation. Secondly , I am a person with a relatively sensitive artistic feeling (I graduated from the same school with a master degree in the same major as Director Lu Chuan, he is a senior several years higher than me), not a heartless person. But to be honest , after watching "Nanjing! Nanjing!" twice in the theater, I wasn't much moved. When I walked out of the theater, I had to think: Since I gave up on Ingmar Berger, who was showing at the same time, in the middle of watching Man Film Festival, I rushed from the Film Archive to the China Film Group Cinema to watch the first day of the film’s screening; since I liked Lu Chuan’s previous film “Kekexili” very much; That massacre had been intensely concerned and thought through; since the film was made with such serious care, and the emotion invested by the director and the actors was so obvious—why, instead of moving me, had the film kept me forever Feeling some kind of unease?
The author also wrote:
"I can still clearly remember the feeling when I first watched the scene of "The Devil Has Come" a few years ago when the Japanese and Chinese villagers had a party: when the Chinese happily made out with the Japanese, I was always nervous Yes, I always feel that the Japanese will be anxious with the Chinese, because I feel that if I were that Japanese, I would also be anxious. This feeling is a real empathy, and it can make people sweat. It's a pity , Compared with "The Devil is Coming", "Nanjing! Nanjing!" can only be regarded as a dessert. "Nanjing! Nanjing!" There are no such accurate and real details, most of its details are specious and suspicious, Imaginary. For example, why did Mr. Tang want to replace the unidentified person (the film does not seem to clearly explain that he was a soldier, or it may have been cut out)? Why did Kadokawa think of marrying Yuriko, a prostitute with the army? Why? Tang Xiaomei was still in the mood to teach her children to sing on the day of the massacre (in order to show the fragility of beautiful things?)? Even playing mahjong (in order to show the Chinese people's tenacious concept of survival?)? Shunzi, who was just released, should not know what to do, and was still in shock. Why did He Xiaodouzi immediately feel in the mood to pick wild flowers on the roadside and wear them on his head (in order to show some kind of hope? What is the logical relationship between picking flowers and hope? It’s business to flee to a safe area quickly!)? Even Mr. Tang’s young daughter said, " "Is there a gun battle going on outside?" It's really inconvenient for me to accept. The city has been beaten to pieces, and she still doesn't understand that it's shooting guns? Could it be that she has been living in a vacuum before? Isn't it just to show the innocence of children Is there a conflict between splendor and harsh reality? Does it have to be expressed in this way? What is a literary style, this is called a literary style. Of course, the biggest literary style is Kadokawa's suicide."
The author cited These examples are also the reason why I can't get into the show, so I don't bother to give examples one by one, and just pick what she wrote. To be honest, this author is more polite than me. I think any hypocritical way to deal with hundreds of thousands of dead people has the possibility of involving moral issues. Maybe it's not intentional, but it can't be ignored.
And what makes this film uncomfortable is that I want everything. On the one hand, I want to learn the main theme of Hollywood (I didn't learn it well), and on the other hand, it needs to be artistic, profound, etc., such as the pursuit of formality in the image (very deliberate) , Another example is the handling of the Japanese army. But we have to know that Spielberg made Schindler against a completely different background than ours. The Jews suffered very badly in World War II, but they had a hard time afterward, and their reflections were also very strong. There was a large set of actions and ideological actions to restore the nation from Israel. I am reminded of "Heavy Rain", why that film is profound, because it points out the interlocking of violence), to the widespread publicity around the world of the evil deeds of the Nazis in World War II, the tragedy of the concentration camps, the persecution of Jews, etc. And so on, so that people on earth know the misery of the Jews in World War II. This is also understandable, because the Jews did not have their own country at that time, and they were dependent on others and suffered such a great tragedy in the end, so they decided to unite and stop being lambs to be slaughtered by others. It is understandable that there are such actions. On the other hand, the Germans clearly confessed their mistakes and apologized for their actions during World War II. Even if there was any dissatisfaction in their hearts, they did not dare to say it publicly. On the 60th anniversary of the liberation of the Auschwitz concentration camp, Western TV was full of stories. Heads of countries gathered at the historic site to pay a moment of silence for the dead. We have to know that Spielberg made Schindler in this historical context, after so much literature, movies, biographies, histories, etc. about the Jewish experience, one really gets a little boring The subject of --- Yes, the Jews are very miserable, but can you let us take a break? Can you be a little more forgiving?
But the history of the Nanjing Massacre and the Japanese invasion of China is not like that. Yes, there have been films about the Nanjing Massacre before, yes, there are a few books (basically written by foreigners, such as Zhang Chunru, Rabe's Diary), but Chinese, Asians , the experience of World War II is not as well known as the Jewish propaganda. Moreover, the Japanese government has not formally made a real reflection and apology on history like the Germans, not only to China, but also to other countries in Asia. Not only that, but entire generations of post-war Japanese cannot learn the truth about that period of history from textbooks. In such a fact, what are we talking about the narrow nationalism of angry youths? I’m not an angry youth. I like Japanese food. The place I want to go to now is Kyoto. I went to school in the United States and also took courses in Japanese art history and Japanese cultural history. In the United States, Japanese cars are driven because Japanese cars are fuel-efficient. But this matter needs reasoning. Now the Nanjing Massacre also has a memorial day. Have we seen the scene where the Japanese leader also went to Nanjing to pay homage just like the German leader went to the Auschwitz memorial ceremony? In this case, is it affordable for you to learn Spielberg? Spielberg said, that's enough, there are good people in Germany. Besides, we can also think about it, why did we Jews have no heads in the flock at that time, and we had to rely on a German businessman to rescue so many people? Do you understand Spielberg's subtext? In fact, Spielberg chose a German hero, and it also contained a profound reflection on the current situation of his own nation at that time. At that time, the Jews were not organized, and they were really rescued by the mercy and conscience of others. Acknowledging this is also a kind of calm reflection. On the other hand, in "Nanjing", there is no real reflection on the enemy and our side.
Watching a movie, I always hope that it will tell me something I don't know, and give me a little inspiration. "Nanjing" didn't give me any such thing. Captives were shot on a mass scale, comfort women, women raped, what do we not know? Yes, what you may not know is the specific characters made up by the director. There were also brave people at that time, and so on. But as mentioned above, most of them are concepts first, which makes people unable to enter the play and move (everyone pointed out the part of the prostitute Xiaojiang, which is really the highlight of the whole film, but the sense of formality of the woman raising her hand is also very deliberate. . This kind of play is especially afraid of being deliberate). It is said that a Japanese soldier could not bear it and committed suicide. This is not difficult to imagine. In any war, there are people who cannot bear it -- it is normal to be unable to bear it. I want to know more, how did this tragedy happen at that time? Afterwards, the reaction of the parties? What is the real situation and psychology of people when they make various choices? Including civilians also include those who have the right to decide? Obviously, the organized killing of captive civilians in a circle like cutting wheat was not an unstoppable spontaneous act of a soldier, but ordered by an officer of a certain level. Any soldier who arrives on the battlefield obeys the order and obeys the command. In such an international-level tragedy as the Nanjing Massacre, should we know more about the role of higher-level people? The psychology of Japanese officers? After all, when the International Court of Justice tried war criminals, it started with Gao's trial, and never heard of the trial of Xiaobing. Of course, this is all off-topic.
Including the National Government at that time, of course, could not escape the responsibility. In the past, we said that the Kuomintang did not resist, but now we say that the Kuomintang army is also anti-Japanese, and there are many heroic acts, but there is no need to go to the other extreme, that is, the Kuomintang and the Kuomintang army cannot be criticized. After all, the legal government of China at that time was the Nationalist government, and Nanjing was under the rule of this government and the troops of this government fell. There are also various situations in the historical materials at that time, including the decision to close the river, so that a large number of refugees who had fled from other places in Nanjing had nowhere to escape and could only stay in the city of Nanjing. Many of these people came after the Japanese army. Without an ID card, it is especially easy for the Japanese army to be executed as a disguised national soldier. Speaking further, the overthrow of the Kuomintang government a few years after the victory of the Anti-Japanese War was indeed logical at the time. The government of any country, when in power, made the citizens of its capital suffer such a tragic experience, it is impossible not to fall! It's useless to say anything. Don't say that the Republican government in the United States has been violated. It violated others and made a mess. They were all elected by the voters. This is the inevitable result of democracy. And there was no democracy in China at that time, so the Communist Party’s victory by the barrel of a gun with its weak equipment must also be recognized as a popular choice. These things should not go to the other extreme because of historical revisions. Any government should also apologize to the people for such a tragic incident. Even if it is powerless, it should apologize for its own powerlessness. Everyone must have their own moral commitments, and of course the government must have moral commitments.
So, "Nanjing" didn't give me anything I wanted to know, only some cheap so-called humanitarianism.
I also don't believe that "Nanjing" will be favored by film festivals and the like. The level of art is not up to the standard, and being comprehensive is the most taboo thing for individual artists. Of course, in China's State Administration of Radio, Film and Television, the Japanese, international film festivals, and playing a balance between the domestic market, maybe that's how it is. There can also be reasons to defend yourself.
In addition, I do not deny the energy invested by the producers and creators, and the actors are also very sincerely invested. However, there is a problem from the root, and any other efforts are useless.
Another:
About Tang Shengzhi, the then commander of Nanjing:
In 1931, he served as a member of the Standing Committee of the Guangzhou National Government and Military Commission. After the September 18th Incident, he returned to the Nanjing government and served as the president of the Military Senate of the Nanjing National Government. In April 1935, he was awarded the rank of general. When the Japanese attacked Nanjing in November 1937, he insisted on defending and took the initiative to serve as the commander-in-chief of the capital garrison, as the supreme commander of the Chinese defense of Nanjing. He claimed to live and die with the capital, ordered the blockade of the road from Nanjing to Jiangbei and the destruction of ferries, so that a large number of civilians could not be evacuated. He gave the order to abandon the city on December 12 without organizing any evacuation, and escaped in the reserved motorboat. The defenders lost their command, their hearts were shaken, and they killed each other (see Nanjing Massacre#Background), and Nanjing fell the next day, followed by the horrific Nanjing Massacre. After that, Tang Shengzhi lived in Hunan, studying Buddhism. In November 1948, he went to Nanjing and Shanghai, and suggested to Chiang Kai-shek to end the war with the CCP and negotiate. Lead the electrification to support the peaceful liberation of Hunan.
After the founding of the People's Republic of China, he held various military and political positions in Hunan Province and the Central South Military Region, such as the vice chairman of the Hunan Provincial People's Government, the vice governor, a member of the Central South Military and Political Committee, and a member of the National Defense Committee. He was also a member of the Standing Committee of the Central Committee of the Chinese Revolutionary Committee, a member of the Standing Committee of the National People's Congress, and a member of the Standing Committee of the Chinese People's Political Consultative Conference. He died in Changsha on April 6, 1970.
Such a character, in both the Kuomintang and the Communist Party, have mixed well. For our reflection, we can only read historical materials. You can't face your real self, and you can't face your real enemy.
Check it out online:
At that time, there were more than 100,000 defenders in Nanjing, under the command of Tang Shengzhi, the commander of the garrison, but Tang adopted the tactic of abandoning the peripheral positions and trapping the isolated city, waiting to die. On December 12, the main Japanese army stormed Yuhuatai, and at noon, Yuhuatai fell. At 2 o'clock in the afternoon, Zhonghua Gate was captured again, and a gap was opened in Nanjing City. At five o'clock in the afternoon, Tang Shengzhi hurriedly held a 20-minute meeting of generals above the division and distributed a mimeographed order to break out of the encirclement, but he himself disregarded his oath of "coexisting and dying with Nanjing" and rushed across the river. gone. On the 13th, the Japanese invaders occupied Nanjing. When the Japanese invaded Nanjing, most of the remaining residents of the city hid in the "refugee zone". Some of the others are left-behind workers in companies and shops, and some are citizens who have to guard their houses. Therefore, there are not many people on the streets. However, the skirmishers, wounded and sick soldiers scattered in front, as well as refugees from various places driven by artillery fire and Japanese invaders, helped the old and brought the young, and flooded into Nanjing City from Zhongshan Gate and Zhonghua Gate. After they came to Nanjing, the sound of the enemy's artillery and gunfire became more and more intense, and everyone panicked. They hoped to hide in the "refugee shelter" in the refugee area, but they were rejected. Finally, they hoped to rush out of the city gate and cross the border. cross the Yangtze River. As a result, some people flocked to Zhongshan North Road leading to the Yangtze River, ready to cross Yijiangmen to Xiaguan Zhongshan Wharf to cross the river; some people flocked to Zhongshan Road, ready to cross Hepingmen to Yanziji to cross the river. When many refugees moved to Zhongshan North Road and Zhongshan Road, some of the national officers and soldiers who finally escaped from Nanjing gathered ants on the river bank and could not escape. At this time, they were afraid that the refugees would hinder them. The gates of Daocheng were closed so that they could rush to escape.
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