"Tangshan Earthquake" seems to be a biography of Feng Dao to build a monument for himself. The solemn subject matter and the family card that touches the public's death point, how can you become formal without earning your tears. But is the number of napkins used by audiences enough to measure the merit and value of a movie?
The film is adapted from the novel "Aftershock". The story basically takes place after the earthquake. The title of the film was cleverly and even cunningly set as "Tangshan Earthquake" (the English name is still After Shock), which seems to have this historical cloak. Protection, any negative comment can be seen as blasphemy against disaster. In addition, choosing real events instead of fiction can also avoid domestic disaster films from overwhelming all beings. However, the pre-hype, mid-term implantation, and post-publicity surrounding this film are all written with the purpose of money first. At this time last year, Director Feng said that the film would win 500 million at the box office, which seemed to have a bit of pride at the wine table. This time, the media caught the small pigtail of the advertisement, and Feng Dao also defended: "The industrial chain of Chinese films is very weak, and there are more than ten channels to recover the cost in Hollywood. In China, the box office revenue accounts for the vast majority. The only other recycling is through placements. DVDs can only sell for hundreds of thousands, and movie channels only have one or two million copyrights.” The ubiquitous placements seem to be understandable these days, but After all, "Tangshan Earthquake" is also a serious theme that you have deliberately created. Don't you feel that the price of the conspicuous advertisement is down ("XX insurance, practical"). How different is the rationalization of inserting advertisements from Fan Paopao's chanting to escape for his life? When it comes to the box office, how can Jia Zhangke be in love...
What cannot be erased from our memories is a social and humanistic magazine called Zhiyin. The reason why I still remember it firmly is that my mother always used the rural baby story of "Zhiyin" as a benchmark to give me serious ideological teaching. It's just that I was young and ignorant at the time. Those tragic stories effortlessly whipped me to the bottom of my body, complaining that I didn't want to be aggressive. . Later I learned that "confidence" is a stylized expression, which "through some heart-piercing stories, constantly magnify a certain thought or a certain story, put it into life, and make people read Surprised" and "used tears as a catalyst" to maximize readership.
From this point of view, I believe that the unrivaled "Tangshan Earthquake" on the schedule is not difficult to break the 500 million box office. I also believe that the film will touch everyone present. But can moving and greatness be equated? The mother in the movie has no choice but to choose to save her brother, which is a subconscious reaction. And being moved is more of a subconscious reaction. What we are most afraid of emotionally is separation, whether it is a yin and yang error or a yin and yang separation, whether it is the person or thing you love, it has become an eternal pain in the heart. It's like watching "Ten Promises between Me and a Dog". Although I muttered in my heart, I couldn't help but burst into tears when the dog was dying, making the theater lights lit up for a moment at a loss. The biggest crux of "Tangshan Earthquake" is also here. The level of sensationalism is not a problem, but the tears are all instant, and there is no shocking force. In short, its plots are all at the emotional level. What we get It's just the cheap touch of the bosom friend, but the lack of deep thinking about human nature. My main reason for highlighting this is my distaste for someone who casually calls movies "epic of humanity". Those who like to abuse "human nature", let them go to the front line of the disaster area. I believe they are also taking the path of forcing children to repeat the misery of the disaster, and then standing and talking without pain in the back and ending with "children, be strong" as the climax .
It is only a normal psychological reaction to let my mother make a choice between the two and torture her with guilt for 30 years. Or you can also say that because Fang Deng hates his mother, it is about human nature to use silence to erase the memory of the past. In my opinion, human nature always has a blurred boundary. It contains indescribable complex factors such as positive and dark, good and evil, love and hate. You can explore the theme from different angles, such as "Atonement" and "The Reader". The protagonist in this film is hard to see two alternately contradictory emotions. She just keeps strengthening her sense of victimhood. The so-called suffering is just living in the shadow of her being abandoned. through the idea of finding a mother and brother. Children are instinctively dependent on their mothers. If a seven-year-old girl can cut off the connection with the past cruelly, she must have a unique personality. If you want to portray human nature, I suggest that you can use Fonda as a breakthrough point. It is a pity that he has become a perfect example of disability in the movie, and he does not even have the right to hate himself for surviving occasionally. As the mother's only support, he might as well do something about Yu Xiao, and it's quite amazing that he can easily settle his wife. But the screenwriter also said, "Writing a warm story is the consensus at the beginning of creation. Mainstream movies undertake the mission of meeting the spiritual and cultural needs of the broad audience. Whether your product is clean, healthy, warm, and positive is directly related to the public in the society. The cultural environment is related to the audience's mental and psychological health." Obviously, it is out of place to explore the gray area of human nature in a movie with the main theme.
The main creators of "Tangshan Earthquake" must be very proud of their restoration of history, especially the reflection of social and historical changes through an ordinary family, and the idea of the film is enhanced by the way of seeing the big from the small. But since it’s really fun, I’d like to ask you to travel less. In the mid-1980s, there were layoffs, and the most common drink for ordinary people was not Erguotou, but cheap men’s spring. In the late 1980s, the school spirit was open and people were popular. In the 1990s, the whole people were fascinated by LV Europe. ...Well, it's no problem to fool the post-90s and post-00s. Not to mention that the details of history cannot stand scrutiny, and even the development of the story cannot be scrutinized casually. It saves complicated interpersonal relationships and the hardships of personal struggle. Everything only serves fragmented emotional outbursts. Why did the unmarried child have no face to face the adoptive father and make the world disappear, and no news suddenly appeared after a few years; because the shock of the Wenchuan earthquake flew directly to Sichuan, and joined the volunteer team with the sentence "I am studying medicine" (not to cause chaos on the front line? ), and thus coincidentally meet his younger brother.
In terms of performance, Xu Fan and Chen Daoming are undoubtedly two points. Especially Xu Fan, who has successfully created the image of a mother who has lived in a self-made prison for many years (although punishing herself with the mistakes of natural disasters, this kind of value is not worth promoting). However, when Zhang Jing first appeared, you couldn't help but have the hallucination of sloppy literary films. When Lu Yi looked up, it was simply a reappearance of a gorgeous idol drama (although it was only idol for a few seconds).
Facing doubts about the bland plot, Director Feng couldn't sit still: "One movie can't satisfy all people, there are all kinds of people in the crowd, some people are full of emotion and emotion after watching the movie, and there are many others. He didn't agree with it after reading it, he just started looking here (not good), he is not the same as us... I believe that there must be people like slashing children in the audience of "Tangshan Earthquake", and all they see are How bad is this movie... Such people must be allowed to exist, as long as they don’t cut children.” A
few years ago, I was a person who was not even a dog in Feng Dao’s mouth, and a few years later I became an anti-social and cut children. people. If Kim Jong Il plans to openly recruit the Minister of Culture and Propaganda, I would first recommend someone with such a strong spiritual logic.
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