Jiangwen once had such a crazy act: shutting himself up in a room to write a script, revising and polishing it repeatedly, surrounded by manuscript papers, books and instant noodles; writing very detailed sub-shots for a movie, and sketching; Breaking through the investor's budget again and again, and constantly adding funds, a 250,000-foot film was shot with a film ratio of 1:15, while the film ratio of domestic films at that time was only 1:3; Wearing clothes from the Cultural/Revolutionary period, reading books from the Cultural/Revolutionary period, listening to songs from the Cultural/Revolutionary period... In the end, he "crazy" out a "Sunny Day".
This film was the highest-grossing film in China in 1994, and won the Volpi Cup Best Actor Award (Silver Lion Award) at the 51st Venice International Film Festival, Best Film and Best Director at the 33rd Taiwan Film Golden Horse Awards , Best Actor, Best Cinematography, Best Actor Award at Singapore International Film Festival, and "No. 1 in the Top Ten Best Films in the World" by Time magazine in the United States. And this is actually his debut.
I once wanted to use one word to summarize Jiang Wen and his film works, but after thinking about it for a long time, I couldn't come up with it. I accidentally saw the cool comment "Beast-level director" given by Cui Jian, the godfather of Chinese rock and roll, and shouted in my heart: This is it! There is no more appropriate statement than this, and it is most suitable for Jiang Wen.
Beast, this word cannot be broken apart. If the word "wild" is removed, it cannot become a "beast"; if there is no "wild" in "beast", can it be called "beast"? Wild means unable to tame, untamed, unwilling to tame, tenaciously sticking to one's own standpoint, principle, personality style; beast, frankness, instinct, toughness, ferocity, no "bestiality" in the field of artistic creation, that is, no blood and no heat No power. To measure Jiang Wen with such a standard, he is indeed a beast!
"Sunny Days" is about the youthful turmoil of a bunch of fluffy little beasts. The historical background is the Cultural Revolution. Unlike previous denunciation scar films, Jiang Wen did not directly touch politics (there are also restricted areas, which cannot be easily touched), but instead focused on a group of children, only saying that these children were in such a social environment. How to play, how to shoot bricks, how to peep, how to fall in love, how to be jealous. If it is a mediocre director, it will definitely make the film dull. After all, it is Jiang Wen, but fortunately it is Jiang Wen. Fortunately, it is Jiang Wen.
A tough beast always knows what it wants, and has almost everything it wants. Jiang Wen knew exactly what he wanted. He wanted a real background, he wanted a group of characters with distinct personalities, he wanted a story that seemed loose but actually Zhang Xi was free, but it was not easy to tell this story solidly, but he did it, he wanted to be noisy He wanted a sense of movement, he wanted a sense of dizziness, he wanted the dripping and exhilarating feeling of rushing from left to right—like a wild beast running in a jungle, screaming, sweating, and panting, expecting hot copulation and burning in a cave . He almost got what he wanted. What is he trying to tell us? There is also pure love in turbulent times? Is there a clear spring beside the vortex of brutal political struggle? Adults are fighting, children are beating bricks? Condoms for adults, balloons for kids? What were the colors of that era, besides the red ocean, were there also blue-colored landscapes? He may have too much to tell us. But one thing is certain: Jiang Wen categorically abandoned the mechanistic view of history that is either good or bad, white or black, and tells the story of that high-spirited and turbulent youth as a past person. He seems to be explaining such a point: don't deny anything lightly. Don't absurdly use today's "Qin Qiong" to fight yesterday's "Guan Gong". From the movie I even felt that he was nostalgic for that time. That time was the sun that made him dizzy and found happiness.
Portraits of Mao/Ze/Dong still hang in Jiang Wen's studio. This has nothing to do with political beliefs. I understand it as a spiritual sustenance. Like the portrait of American boxing champion Tyson stabbed with hair on his muscular and scarred arm, can you say that this black man who makes a living in the boxing ring of a capitalist country is a social/social/ism/ism activist?
"I'm going to yell. I'm going to roll. I'm going to...hold it first and then yell and roll!" Every time I see a photo of Jiang Wen, I seem to hear him muttering. More than 20 years ago, he was just twenty-three or four-year-old, but he was already well-built, muscular, with a neck as thick as his face, and his two big ears were like mushrooms growing from a tree trunk. He played "My Grandpa" in the movie "Red Sorghum". He threw down the bandit in three times and twice, carried "my grandma" into the sorghum field, and turned over the bandit leader three times and two times. Big bowls of drinking and eating meat in large chunks, weighing gold and silver on the scale, pretending to be crazy, selling stupid, drinking mad, urinating in the wine vat... The director of this film is Zhang Yimou, and this is also his wildest film so far, and this kind of The number of ways is not his best. Look at his Qiu Ju lawsuit, look at his big red lanterns, look at his one piece, look at his Ju Dou, which movie has the wild animal nature of "My Grandpa"?
When it came to "Speak Well", the picture shook unusually again, and the screen exuded a fishy animal smell. Some people wonder: Is this Zhang Yimou? Yes, this is not Zhang Yimou. Zhang Yimou brought Jiang Wen in again, and Jiang Wen once again turned the movie hysterically with his "my grandfather" behavior.
Lu Chuan, who was fluffy, was going to film "Looking for a Gun", and he tried to get the beast-level Big Brother Jiang into the crew. Soon, he learned the power of Big Brother Jiang. Rumors on the rivers and lakes are that Lu Chuan, whose milk gas has not disappeared, is often trained by Jiang Wen to squat under the wall and cry. He was holding the director's "share" in the front, and Jiang Wen was listening to politics behind the curtain. The film is as masculine as ever, shaking, spinning, giddy, hysterical as ever. This film with Jiang Wen's thick foot print won the national film award almost without any suspense.
When Lu Chuan was angry and wanted to shoot a "Kekexili" that could prove his talent, Jiang Wen wisely ducked aside and smiled to see how he did it. As a result, Lu Chuan made it very difficult, awkward, dangerous, and wept with tears. He wants a documentary style, but also commercial elements, and he clumsily plays with some shapes and pictures that the fifth-generation directors have already played with. Almost everything he wanted to put together was put together, but he couldn't play Jiang Wen's smoothness and ups and downs, let alone real and reliable passion.
"I want the sun..." Jiang Wen, who grew up in the army compound, knows what the sun means to war. At dawn, the charge horn suddenly sounded, and the long-crawling warriors passed through the barbed wire, bayonets flashing. At night, the sun rested, and a small team sprinted away to kill the enemy sentry. Under the noon sun, the sight of the rifle will be haloed, and the target cannot be seen clearly. It doesn't matter, just take out the lighter and bake it on the sight. Almost every morning, the soldiers sang "Our troop to the sun". That's not Van Gogh's sunflower under the sun, it's a stream of iron... A movie, a war, is brewing in Jiang Wen's heart. The movie finally made him wait.
The film is called "The Devil is Coming", and it has not yet been released. According to Zhao Benshan, the ugly star of the Northeast, when performing a play or filming a movie, the audience must be relieved and released at the end, otherwise it will not be thankful. Although Zhao Benshan's statement may not be completely correct, it is exactly the seven inches of "The Devil is Coming". The Chinese people suffered such a big crime from the devils, and they held back their turtles to the end. The master hacked to death the Japanese prisoners with a knife. Finally, he was relieved and released for all Chinese people. Unexpectedly, this hero was finally killed by his own "national army" "The death sentence was sentenced, and the beheading was performed by a Japanese soldier who had been rescued by the protagonist. huge asymmetry. huge imbalance. Huge unreasonable. Huge suffocation. Jiang Wen drew a black circle in this film, which is closed. It begins with ignorance and cowardice, and ends with lamentation. There is no opening for emotional release, there is no outlet to strengthen our country and relieve the anger of the people, and there is not even a small swipe outside the circle of Ah Q in Lu Xun's writings.
What happened to Jiang Wen? Why would he fight the heroes of "Tunnel Warfare" and "Mine Warfare"? Is his brain flooded? Does he understand the power of cinema in ideology?
Of course Jiang Wen is not a fool. He also knows that a director has to have his own position. Alas, he is a reckless prophet. He saw that there were already many directors standing on the position of the nation-state. It was too crowded there, so he twisted his hips and slid his shoulders, and stood on the neutral position of neither the enemy nor me, about 100 meters above the ground. from the sky, overlooking the confrontation between the two nationalities of China and Japan. From this position, he wants to observe how the two ethnic groups battle wits and courage, how to conduct a marathon, and then examine the overall quality of the people of their own ethnic groups in the game. Is there anything wrong with this? Why can't it be more dispassionate to dissect a cross-section of a people's specimen and analyze its pathology?
As I said before, Jiang Wen is a beast, he knows exactly what he wants, and he can always get them. In the movie "Devils Are Coming", Jiang Wen got what he wanted: even if the government mobilized, propaganda and launched again, there are still a few villagers in a country as big as China, who seem to be out of the world. At present, they have no obvious national hatred and family hatred, no common enemy, ignorant, numb, cowardly, only consider their own self-interest, internal friction, suspicion, calculation, bewildered by the small favors of foreign invaders, and are willing to be slaves. Good people. How simple, how tolerant, how reasonable! Only when the intruders exposed their ferocious cannibalism did they wake up like a dream and rise up. But it was too late.
No one would be foolish enough to think that Jiang Wen made this film just to expose the inferiority of the nation without any other implication. In fact, his attitude toward his compatriots was "sorrow for his misfortune, but not to argue with anger", and he exposed his attitude toward the atrocities of the Japanese army. If we look a little farther, we can still see Jiang Wen's calm analysis of human nature in war.
Someone asked: In the movie, is it true that Japanese soldiers give candy to Chinese children and live in harmony with the villagers? Is there any suspicion of beautifying the Japanese army? On this issue, I do not want to cite too many historical materials to illustrate. What I just want to say is that the Japanese are not so stupid that they will only burn, kill and loot, but will not have a soft policy. Otherwise, there will not be so many puppet troops, so many maintenance and such good people in China's urban and rural areas in 8 years. , there will be no Wang puppet regime that advertises "curve to save the country", and the Japanese will not stay for that long. This is the truth of history. Why do we dare not face up to this piece of history?
Jiang Wen's heretical and offbeat performances have troubled film censors. He wanted to use black and white films to express his understanding of that period of history—in a sense, black and white means copying history, meaning the restoration of history by contemporary people. However, he was still not understood, or understood, but could not let go. He created a sun with only black and white colors, but in the end he could only bear the care of this cool-colored luminous body. But I want to say to him that in China, only you can make such a paradoxical movie: humiliating forcefully, cowardly, erupting forcefully, and then abandoning it forcefully.
"The Devil is Coming" is banned, like a tiger stepping on a hunter's trap. Jiang Tiger was pinched and began to patrol carefully in the jungle. During this period, he filmed a stomach medicine advertisement, pretending to drink "green tea" with Zhao Wei, and read some "letters from afar" with Xu Banniang (Jing Lei)... He tried to make himself a gentleman, an old-time white-collar worker . But no one approves of his humiliating lame transformation - a tiger with an apron in an apron, a white hat and a basket to deliver milk to a lamb? Is there a funnier look than this?
Jiang Tiger, who retired from Jianghu, was silent for seven or eight years. He wanted to rise, he wanted to rise, and he finally rose. As I type this article, he and his beautiful wife Zhou Yun are carrying "The Sun Also Rises" to the Venice Film Festival. It is said that the themes of the film involve women, sex, madness, guns, lush plants, dazzling rivers and sunlight, quite South American style. The beast made a long circle and returned to the starting point. He drew a large circle to describe and celebrate the sun in life.
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