Every frame is like a graduation work from the Oil Painting Department of the Repin Academy of Fine Arts. It is beautiful, neat, and a textbook. Not to mention it.
Let's just say two scenes where the director's skill can be seen. In each scene, a Chinese director is used to make an anti-Japanese film. The movie can be played for at least ten minutes, and the TV series can be played for five episodes.
1. Love story: The troops set out from the village in the sunset and walked along the path along the roaring snow; the woman ran out of the wooden house, a soldier stopped, turned around, the two met, and the woman helped the soldier Hat, looking at each other, after a brief hesitation, the soldier turned to chase the team in the sunset.
There can be a complete love story in it, but for one scene, the director handles it implicitly and powerfully, and it's beautiful.
2. The German artillery shelling position, the camera is pulled, the village not far behind the position, two uncles with unshaven beards and tattered clothes, looking at the artillery fire in the sky, leaning against the fence, worrying, fearing, and concern for the soldiers, and only relying on them. A lens, still such a beautiful lens. What is called "military and civilian fish and water" and "people's character soldier" have all come out.
Not to mention war dramas and literary dramas, it is enough for a Chinese director to study for 30 years.
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