Maybe it's because my expectations are too high, or maybe it's because of a few years of journalism study that makes it not surprising that my tears have risen sharply, or maybe it's not easy to be moved when I'm older, in short, I'm disappointed after reading it, and I didn't see the emotion I was looking forward to. , the tissue paper I prepared earlier didn't come in handy. I haven't dozed off in the theater for a long time, and this time I actually took a solid nap.
At the end of the Cultural Revolution, Lu Yanshi returned home and found that his home was covered with small notes. It was from this moment that everything went wrong for me. The front was still full of reflections on the Cultural Revolution, but when I saw the small note, my heart sank. Then until the end of the film, the basic routines have all been guessed, and it is expected that it is boring to watch.
As far as the second half is concerned, there is really nothing new. Isn't that what "50 First Dates", "The Notebook of Love" and even "The Eraser in My Mind" are all about? When I watched "Eraser in My Brain" for the first time, I cried a lot under the powerful rendering skills of the Korean director, and then I became immune to this type of subject matter. "Return" has nothing new to say except that it turns this story routine into an elderly version.
Therefore, in comparison, the first half of the film's description of the Cultural Revolution is worth talking about. For Laomouzi, it takes courage to turn against the original partner and be riddled with negative news. It takes courage to touch such a theme in the first work of the new owner. It is rare for New Scar Literature to appear on the screen. Many excellent works related to it have died under the scissors of the State Administration of Radio, Film and Television. For this alone, it is worthy of praise for the director. In particular, several actors portrayed the emotional changes of characters in the context of the Cultural Revolution quite well. Chen Daoming didn't talk about it, and ragged clothes couldn't hide the temperament of a male god. In addition to dancing well, the new recruit girl has a very meticulous grasp of the role. Eager to express his position, to be competitive, to prevent his father and mother from meeting, and to cry and report his father in the heavy rain... A child who grew up in that environment would not hesitate to break with his family for the sake of his own future, which is heart-wrenching and frightening. Gong Li is even more eye-catching. From the beginning of the film to the meeting on the flyover, she has only a handful of lines, but she just relied on silence, forbearance, and tears to explain everything in this silent performance.
When I watched this film, I couldn't help but think of "Alive". Compared with the former, many people thought that "Return" was less important in grasping the story, and even extended to Zhang Yimou's personal inclination, which is actually unnecessary. The depiction of reality in "Alive" is real and cruel, setting aside the bloody misery of a family to the audience. In order not to be too tragic, the end of the film even lost the essence of Yu Hua's original work, showing a picture full of hope. Even so, the film still failed to be released. "Return" does not involve 90% of the cruel content of the original work, but at least it is presented to the audience in a complete form. Issues that could not be discussed can now be discussed, which is a breakthrough in itself. At the end of the film, there is no hope of life like "Furong Town", but a depressing atmosphere from beginning to end, which is also one of the breakthroughs that requires courage. Whether it's dancing in shackles or playing edge balls, both are dangerous sports, and Lao Mo Zi has taken a meaningful step that opens up the possibility of playing trick-or-treating on the screen.
In general, "Return" has more formal significance than content significance. In terms of content, it tells about the return of human nature. Distorted people are struggling to find a way to return to their original hearts under the trampling of the times. In terms of form, "Return" is actually opening up a new path, and there may be hope to see more reflection works on the new scar literature on the screen.
Now that we talk about form, let's go a little further. This film is Zhang Yimou's first contract with LeTV Pictures. Judging from the current box office and film layout, it is really menacing. Unsurprisingly, this will be a work that LeTV can really do after a series of bad films such as "I Want to Be Good With You" and "What I Love Is You Love Me". This also indicates that LeEco's ambition is not just as simple as video business and occupying the living room with Internet TV. This work was produced in cooperation with Wanda Films. Although these two companies had no right to speak in the film market before, the power of such a joint effort should not be underestimated. If you pay attention, you will find that the name of Gu Yongqiang is on the list of producers of many films this year, and various Internet companies are eyeing the film industry. (Speaking of why I saw the product list so carefully recently!) After the Internet thinking has reconstructed the media, reshaped the catering, and deconstructed the sex toys, it will set off a bloody storm in the film industry. What will happen? A commercial version of "Superman Returns"? ...
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