Tonight I watched "Earth" for the second time with my friends in Hong Kong, Broadway Cinema in Yau Ma Tei. Although the audience was full, after the film was screened, the usual curtain call applause in the film center did not sound in the audience. After the second brush, the points of dislike and liking are more clear, so I simply share it briefly, and only talk about the movie itself.
Dislikes:
1. Deconstruction phobia: Bi Gan is very aware of the deconstruction obsessive-compulsive disorder of the movie fans, and he doesn't even have to think about how many in-depth deconstruction texts will come out after the film is released, which is the truth. As far as the original thought is concerned, the expression that should be expressed has already been completed as early as "Roadside Picnic".
The story of "Earth" is actually not complicated, but it is nested in the Mobius ring. The main characters have multiple time and space transitions. The story is actually painstakingly involved. I believe that at least at the level of the play, the relationship between these superpositions and mapping It has already been opened up, trying to build a closed-loop story in the character relationship chain with the white cat as the core, the overlap between the characters and the external elements of the characters, and the meticulous image metaphor. But narrative is narrative. In all fairness, Bi Gan's current narrative level is not capable of this dense superposition relationship. These dense information that breaks the conventional narrative logic is difficult to sort out in the first viewing of the film, but instead becomes an obstacle, and it is tasteless to deconstruct.
2. The style of the lines is awkward: In addition to the video, Bi Gan also tried to build a poetic character through the text of the lines, and the lines of "Earth" will be more popular than the upper works, but with all due respect, Bi Gan Gan's "poetry"-like lines (narration) have always had no talent at all. The nagging and sparse third-rate poetry has caused me many times to hide my face and couldn't bear to look directly at it. Important spin spell, lame. Bi Gan has his own unique film aesthetics, but there is no need to expect anything from his literary level. This level of lines is simply revealing itself.
3. Speculative self-consumption: 3D long shots are completely gimmicks of dazzling skills. Bi Gan is consuming himself. To a large extent, the entire movie is for the long shots of dozens of minutes, and saves for the long shots. The long shot, what else is there besides speculation? Bi Gan, success also takes a long shot, defeat also takes a long shot. This article does not accept any rebuttal.
4. Scratch the sense of space: Bi Gan doesn’t seem to pay much attention to the sense of space in the images. There is almost no sense of space in the first half of “Earth”, and in the long shots that are all for the sake of long shots, the space processing is also very sloppy. As a film director, this subject is not even a pass. The basic skills are evident.
5. The symbol is pale: it is easy to please the movie fans to pay tribute to the classics, but the handling without thinking will only make people suspect that this is an insincere take, and the sense of ritual is too heavy.
6. The content of expression is relatively thin: The images carry Bi Gan's own aesthetic system, but outside the aesthetic system, the inner strength is too thin. This is the evil result of film metaphysics encountering Xiaomiao.
Favorite bridge segment:
1. Chen Yongzhong sang "Reason to Be Strong" while dancing.
2. In the long shot, Luo Hongwu slides down the ropeway.
3. The fireworks at the end of the film are romantic in the bones.
4. Trailer.
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