I discussed the wonderful use of "Putting Name" on the mirror, but I didn't expect a negative example - "Assembly" so quickly. It can be seen that Feng Xiaogang went to "Saving Private Ryan", even the bloody and intense main scene at the beginning, but it is a pity, if the hand in "Saving Private Ryan" is like an excited warrior on the battlefield , then the shaking mirror at the beginning of "Assembly" is like taking too much ecstasy. One might find a reason to pursue "realism," but the pursuit of realism does not come at the expense of narrative clarity. Small-scale street battles are different from the scenes of large corps battles. The shooting is much more difficult, but it is not without pearls and jade. For example, "Black Hawk Landing", the battle scenes are handled real and clear. I don't know if the authenticity that Feng Xiaogang wants to achieve is really achieved, but at least he shakes off all the sense of clarity. Except for the few shots in the middle that were not very shaken, I saw how the firepower of the National Army was destroyed. How can the rest of the scene be so garbled? But is this a riot? Obviously not, Jiulian is still very tactical, but from the camera, I can't see such tactics, I only see a person falling down with blood from time to time. Shake is a good thing, but this time it's obviously gone too far - whether it's the number of shots or the magnitude of the shake, and it seems to have identified this path, not even giving a slightly different shot. Unlike "Black Hawk Down", "Assembly" is about writing people, and in this kind of cold shooting method, it is difficult for you to catch individuals. In "Black Hawk Down", you reluctantly put on everyone's hat. It's kind of stupid to write the name, but even then you can't see clearly. In the opening scene of "Assembly", which could have been a good initial account of the characters' personalities, apart from the names appearing on the audio track and subtitles, it was basically difficult for me to tell who was who. Fighting for battle, shaking is too inexplicable. But it's also good, with this scene, you can also pour cold water on the action scenes that are a little dizzy - it's not a good thing, everyone should swarm it. Too much use, and good things stink.
The difference in the use of mirrors in war scenes between "Famous Names" and "Assembly" is the same as the difference between Wong Kar-wai's works and "Something to Say" in the use of mirrors in literary films. (The movie "Speak Well" is still good, but obviously it doesn't shake well.)
[2] For whom are the tears flowing?
I still shed tears after watching "Assembly", but it was a little inexplicable. When I cried for "The Last Samurai", which had a very naive understanding of Japan, at least I knew that I was moved by the heroism that I knew I couldn't do. And this time, I was confused myself: why am I crying again? Oh, it turned out to be an onion?
I'm not saying that this movie is bad. On the contrary, if we can look at it a little bit down, and just treat it as a main theme or a red-themed TV series, then this is an epoch-making, at least, it can be made similar to "Braveheart" "As good-looking. But the problem is, I'm afraid Feng Xiaogang's own ambitions are not only that, right? If this is understood as a tribute to male friendship and bravery, then the scene after all the sacrifices of Jiulian Company is handled very badly, with several paragraphs divided very inexplicably, and the rhythm is completely disordered. Especially the Korean War scene, just like the robbery of Fan Wei and Feng Yuanzheng in "A World Without Thieves", although it is interesting to bring it out ("The first wheel does not turn and then the wheel turns to Smida", which is estimated to be the same as "icipiq card". The same, it is about to become a new buzzword.) Not only does it fail to promote a sense of cohesion, but there is also suspicion of differentiation. Moreover, what exactly is the millet land that has been so desperately sought after over the years? Is it an admission? Is it to discuss a statement for the comrades of the year? I'm leaning towards him having left his soul with his brothers after that battle, all of which makes sense, but the movie could have been a lot better if it could be focused on one point. But the movie drags so much that it is very confusing. Sometimes I want to talk about the main theme and talk about how hard the revolutionary martyrs are, but if I only want to talk about this, the content of the film has already "overflowed", and some places
are not red enough; sometimes I want to talk about the fighting friendship between comrades in arms, but talk , and always suppresses himself with big reasons; sometimes he wants to improve himself and pay attention to human nature, but he is so powerless.
Big Chai girl Xu Jinglei said that "Famous Name" is an anti-war movie. If she is not IQ, it is just for hype. On the contrary, "Assembly" could have been made into a very good anti-war movie, but it used force everywhere. But not enough effort anywhere. The film originally implied a good dramatic conflict, the two scenes about blowing the trumpet - on the battlefield, and in front of the monument, are very well done, but why not expand on these two points as a dual core What about this dilemma: if you let them go, the regiment will suffer losses, if you don’t let them go, you will betray your brothers; if you let the brothers retreat, you disobey the orders of your superiors, and if you don’t let them go, you will be sent to death. Although I have watched it for more than 24 hours, and there are many similar choices, this is still a good conflict core, but in the end, it was only taken carelessly, and finally sensational. It's a pity for Feng Xiaogang.
Having said so much, I still want to say that this movie is not bad. In terms of hardware, it is close to perfection. The details of props and costumes and the handling of some life dialogues are well done, but in terms of soft skills, It can and should be done better. And this is probably not something Feng Xiaogang can change alone.
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