After reading it, I was so suffocated that I didn't even know how to write a film review.
One hour before the end of the film, two audience members left the stage, and half an hour before the end of the film, two more audience members left the stage. In fact, I couldn't sit still in my chair for a long time. If it weren't for the professionalism of the self-proclaimed half-film researcher, I would really want to scold me.
Facts have proved that in the profession of a director, it is really not that the more films you make, the better the works you make. On the contrary, it is very likely that your Virgo has amazed the whole world, and the next film is not as good as the other, and in the end it is not a fart. Chen Kaige Laomouzi is a typical case.
The same goes for the section chief, who is no longer the section chief who filmed "Xiao Wu" and "Platform" back then.
First of all, the biggest slot of the film is the acting of the section chief's beloved wife. Aunt Tao interprets a mistress like a virtuous woman, a vegetable farm aunt, an old man in Liyuan in "The Destiny of Heaven"... just not like a mistress who is looking for a married man and whose lifelong mission is to break up other people's happy families. Aunt Tao in "Platform" is still very good-looking, but as she grows older, her acting skills unfortunately have not improved at the same time.
Aunt Tao, as always, in "Mountains and Rivers" interprets the realm of "acting what is not like" to a new height. I am really amazed at how she can still have such a stiff body in front of her husband's camera, and the smile that has been unchanged for thousands of years is like a mask attached to her face. She is the only person in the film who runs through the three eras, but except for the changes in hairstyle, clothing and makeup, she is the same person from beginning to end, and it is impossible to see that the years have left any imprint on her soul. (For this kind of drama with a large time span, Aunt Tao can learn and experience the excellent acting skills of Mr. Xu Fan, who is also the director's wife, in "See You or Not".) Fortunately, the section chief did not arrange for Aunt Tao to be with his son's girlfriend Let's meet, or else in this rival scene, Aunt Tao's acting skills will be crushed into slag by Aunt Ai in minutes. (Aunt Ai is even more powerful. In Yang Dechang's "A Day on the Beach", the three stages of girls, young women and strong women can be vividly interpreted. If you have free children's shoes, you can find them and worship them.)
The chief's feelings for his beloved wife are really It's a bit too much, and I gave so many close-ups and close-ups... Aunt Tao was eavesdropping on the video of her son and her stepmother in the kitchen, and gave a close-up of the cup in her hand shaking with anger. This kind of treatment is so childish People are laughing. In the part of mourning and mourning, the section chief changed his previous restrained style, gave such a close view, and even shot Aunt Tao's crying face, which made his feelings overflow. But unfortunately, this kind of feeling is actually cheap, so the effect is the same as the water flooding everywhere after the toilet sewer is blocked.
Why is it cheap. Regarding the death of Aunt Tao's father, is her father an important character in the play? How many lines does her father have in total? Did his death reflect a tragedy of some kind? nothing! (The old man is still very happy, and there is no pain at all!) Since you want the audience to resonate, you must make the audience feel emotionally invested in him. For a character who died after shaking like a paper shell in the film, it is really unwise to try to make the climax of the film. Unless I can understand that Aunt Cheng Tao's father is actually referring to Liang Zi? But isn't that an over-interpretation?
Speaking of Liangzi, it is another major failure of the film. The section chief may think that cutting off a certain character line suddenly in this way gives people a feeling of abrupt end, and it looks like a lingering sound, which can leave people with infinite reverie. Is it some kind of very avant-garde artistic trend? you! wrong! ! This is against the laws of human cognition, it openly challenges the audience's psychology of watching movies, and it is extremely irresponsible. You are not making a film like "Apocalypse", which is already playing a narrative line (to be honest, "Apocalypse" imitates the narrative structure of "Pulp Fiction" is too clumsy), since you have chosen a film that suits most people The order of the psychological cognition law is narrated, then please tell the story well and explain all the clues clearly. What kind of trouble is this kind of throwing Liang Zi out of the movie in the middle?
It is estimated that the time when the title appeared has also set a new record, and it did not come out until the middle of the first and second paragraphs. (And the opening character of the second paragraph is Liang Zi, but the section chief kicked Liang Zi out of the movie in this section! It made Liang Zi cry and faint in the toilet! Please calculate the psychological shadow area of Liang Jingdong, an old actor who has been with the section chief for so many years. !) You can learn from Inglourious Basterds and Finney and Alexander for this kind of several-paragraph movie. How do people echo the beginning and the end? Each paragraph has its own independence, but when several paragraphs are connected, they form a the integrity of the film. No matter how bad it is, you can also learn multi-act dramas.
The three-stage style uses different frames. This is really nothing to say. It is already a trick that people use badly. "The Grand Budapest Hotel" uses more frames, and it is still interspersed back and forth. And since the future is shot, how do you know that the future frame is still 2.39:1? Maybe there will be a ring screen, a dome screen, a 4D screen in a few years... Well, I admit that I am a bit picky. But there is really nothing to admire about changing a few frames, fans of science, take a break.
After entering the second and third paragraphs of the plot, I gradually left the thousand-year-old base of Fenyang, and obviously felt that the life experience of the section chief was not enough. The level of the entire dialogue, plot advancement, and scene connection has plummeted. Auntie Ai's ex-husband traveled thousands of miles from Canada to Australia to ask Auntie Ai for utility bills... What kind of spirit is this? (Is there a sentence "Reimburse me for the aircraft ticket I came here" before parting, or it's not worth it...)
Little dollar has been in Melbourne for more than ten years, and he has almost forgotten Chinese. He still takes language classes with Chinese classmates in the university (and the visual inspection is English)... (It seems that the section chief has been in Fenyang for too long, and he does not Know what colleges and universities are used for.) Besides, there are too many Chinese in Australia, right? Could it be that the Chinese have already colonized there ten years later?
The so-called negotiation between little dollar and his father, which structurally supported the third paragraph, was also protracted and confusing. In the end, a so-called translator was finally invited. To be a few rebellious complaints of teenagers, they are simply untenable, and become a ball that is deflated after a tie. Although there are many guns on the negotiating table (coffee table), the section chief has lost the kind of courage in "The Destined", and the gun has become a decoration.
The last thing to complain about is the props group. When the frame became 16:9 and unfolded slowly, we saw a photographer taking pictures of everyone with an antique-level camera, and it turned out that the year was 2014! ! (Hello photographer, where did you buy your camera, I want it too. What? Is it from your family? This is your 500 yuan, take it and thank you)
On the train, Aunt Tao took out a bunch of keys To my son, on the keychain is an induction key card and an anti-theft door key, and the lines she reads are: Son, this big key is for the door, and the small key is for the living room... I wanted to stand up instantly. Hit people! Is Aunt Tao blind, or the section chief deaf, or is the audience an idiot! The living room also needs a key. This is the first time in my life I have heard of it! And the little dollar hung this thing on his chest for ten years and finally took it out when the key hadn't rusted!
In all fairness, the first paragraph of this film is a myth, but the third paragraph is almost a joke. What I saw was a feigned stance in thought, poor expression due to lack of life experience, and lack of rigor in details.
I plan to watch "Xiao Wu", "Platform" and "The Good Man of Three Gorges" a few more times for brainwashing, so that my impression of the section chief is fixed in that era.
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