Director Hou's classic "City of Sadness", the same fixed camera still shots, the movie time close to the actual time, and a large section of silence left blank, I have watched it three times over and over again, and I really think it is the film that should be Enter the great works of the Chinese film hall.
Came with great expectations and left with great disappointment. Nie Yinniang and the boy in sunglasses walked into the forest with their horses, and the drums began to sound intensively. I felt a Gordon in my heart, this is the end? Do not! Where is this going?! Then the subtitles rolled up, and suddenly there was a feeling of being played with.
I thought it wouldn't be like my friends who are spoiled by commercial films and can't stand the motionless camera for more than 5 seconds. I thought I could appreciate you.
...
the general plot is not incomprehensible. But with all due respect, the central character, Nie Yinniang, did not impress me at all, nor did it resonate with any of the characters in the play. I just want to ask Director Hou, what are you trying to say?
If this is the graduation work of a film academy student, it will be a bit interesting: in the short space, there are enough entangled character relationships, so that modern people can appreciate a completely different world of martial arts and morality from a thousand years ago, even if it is Jinghong glance. But your movie, with an investment of nearly 100 million yuan, such a good actor, such an international level production team, and such a big battle, let us watch this?
It is said that the original film of the film has been greatly deleted, and many scenes from the succession and transformation have been deleted, thus affecting the integrity of the whole film. But what is the reason for the deletion? (I don't think there may be any political inaccuracy) If it is really forced to cut down to such a degree that even the basic character relationships and plots cannot be explained clearly, is it responsible for the audience to release it in theaters rashly? Don't tell me why you didn't do your homework beforehand. I haven't seen any good movies that require the audience to do a lot of homework to understand its "greatness". If you can't impress the audience in the movie theater (even if one shot, one sentence, makes them feel that 100 minutes of sitting here is worth it), sorry, you have lost.
good. Many of the pictures are too beautiful, and that bright and sad tone is an important reason for arousing my interest. The horse team walking through the huge canyon in the long-range lens, or the slow-moving formation on the edge of the meadow in the wild, reminds me from time to time of the insignificance of human beings in nature; the blurred depth of field in the telephoto lens is like a tranquil scene A Chinese landscape painting that is far-reaching and does not emphasize artistic conception but precision; the few words of dialogue remind me of the solemnity of the ancients... It reminds me of the rivers and lakes in "Crouching Tiger, Hidden Dragon" (if "Reclining" is Tibetan Cyan, it's cool) It's a world I'd like to indulge in, whether it ever existed or only existed in the imagination of literati.
But that's all. The movie itself gave me too many question marks. Where is the change in Nie Yinniang's heart? How does she feel about Tian Ji'an after many years? Where did the mirror-wearing boy come from? Why does Zhou Yun's wife Tian do those things? Why did Orchid cover up her pregnancy? Where did the masked female assassin come from? Crucially, none of the characters made me empathize. They are like a group of puppets, executing their own plots under the manipulation of the director.
Don't talk to me about loneliness from dancing with Qingluan, tell me that the theme of the film is loneliness - the basic theme of almost all literary films is loneliness, choosing loneliness as the theme is unnatural and equal to you, you have to let me also feel their loneliness. Don't label the failure of the narrative as "anti-narrative", don't call the shriveled character "freehand", and don't call the editing of the foreword a "blank", and don't call yourself moving and pretending to be incomprehensible to the world Amorous feelings, don't blame the failure of the box office on being independent and aloof.
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