In fact, starting from "Heroes", Zhang Yimou has broken the continuity of style, transitioning from realistic literary works to romantic commercial works, but the use of color has always continued. However, "Return" regains literature and art, but loses its color, which can be described as the second self-splitting. I don't know if Zhang Yimou's next work will change his mind, but the path without assertiveness fills the fans with a sense of uncertainty and unease.
"Return" loses continuity, but that doesn't mean it's a rough and substandard work. In terms of artistic achievements, "Return" is quite satisfactory, and the vision of expecting master works is bound to fail, but "Return" is still regarded as a rare masterpiece in the domestic film market. Our harsh criticism of "Return" is also based on the gap caused by the infinite expectations of Zhang Yimou, rather than the conclusion drawn from a horizontal comparison of domestic films. This time Zhang Yimou's "Return" weakens the majestic background of the times and focuses on emotional expression. Zhang Yimou seems to have transformed the intensity of color into the mellowness of emotion. I cried several times during the viewing process, but it was definitely not a piling up of provocative plots. It is through the expression of Chinese restraint and patience to achieve emotional release. The management has brought the focus of propaganda to the sense of family affection, which is considered to be the right way.
The most rewarding of the "Return" viewing this time is the performance of the two leading actors, especially Gong Li. Zhang Yimou's shooting this time uses a lot of close-up and close-up shots, which is a challenge for the actors and an opportunity at the same time. Undoubtedly, Gong Li has seized this opportunity, with meticulous facial changes and selfless understanding, she has created a natural woman who is waiting for her husband to come home. Sometimes I think that I was not crying during the movie because of the touching plot. , but for Gong Li's moving performance. Zhang Yimou and Gong Li are indeed good partners. Gong Li knows what Zhang Yimou wants to show, and Zhang Yimou knows what kind of Gong Li is the most beautiful. After "Alive", I reconfirmed Gong Li's status as a Chinese goddess. Before "Return", I really gave up hope for Gong Li's return. As the most symbolic actor in China, Gong Li represents the face of Chinese actors. Just like Cannes chairman Jacob said, Zhang Yimou's greatest contribution in "The Return" is to bring Gong Li back to the world audience again. What fans are looking forward to Meet her again. Zhang Yimou also said that it is a pity to lose the qualification for the Cannes competition. The main reason is that the superb acting skills of the two leading actors lost the opportunity to compete for the actor and actress awards.
I don't know since when, it has become more and more difficult to evaluate a domestic film. Expressing opinions on the film is likely to attract the collective encirclement and suppression of the capital and the navy, but for me, the main reason is that domestic films are becoming more and more confusing, or the stories are not well told at all, or The story was told well and then went to space, scattered themes, large-scale commercial invasion, compromised expression, too many different things, too much anticlimactic. So much so that when we evaluate a national film, we can only say that a certain paragraph is good, and a certain paragraph is imaginative, but together it is like a mess of sand, and the shape is scattered and the spirit is more scattered. If the qi does not condense the dantian, how can one exert force?
It is even more difficult to evaluate Zhang Yimou's work, especially in recent years. Chinese people have a love-hate relationship with Laomouzi, and this complex emotion is much more invested in any other director. On the one hand, we have the greatest expectations for him, and his new works will be looked forward to as master works; on the other hand , His repeated business surrenders led to a decline in word of mouth. As China's most charismatic and influential director, his every move has led observers to look under a magnifying glass. In addition, the domestic creative environment and the constraints of being a public figure also kidnap the creator. Compared with the expression of individualism of the sixth generation, the fifth generation, who has experienced the great changes of the times, obviously has a hurdle that cannot be overcome, more tense nerves, and a strong imprint of the times, and the inability to let go of these creations will inevitably affect him. creative expression.
After breaking up with Zhang Weiping, Zhang Yimou joined LeTV Pictures. This is also a choice that makes people sad and happy. On the one hand, we expect Zhang Yimou to regain his literary and artistic works and return to the road of a master after getting rid of Zhang Weiping's coercion. On the other hand, as an emerging Internet film company, perhaps LeEco can give Director Zhang appropriate leeway, but the ban on "Alive" is never allowed to appear again. After all, this is a commercial cooperation for profit. LeTV spent money to sign Zhang Yimou, and it is no problem to use Zhang Yimou's influence to rise rapidly. Their first work "Return" must bear such expectations. Only a work with a bright and good reputation that is suitable for mass consumption can maximize commercial interests, so the film creation process must exist with trepidation, which is also the inevitable result of commercial cooperation. The so-called win-win between them is far from a victory for fans and Chinese films. This is also inevitable. Under the conditions of the deformed film market in China, it is not easy to have a little persistence. When we were looking forward to Laomouzi's return to the temple, he has come to this point. We should not hold an attitude of making things difficult for him, but we are indeed not satisfied.
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