"Eight Hundred Heroes" before "Eight Hundred" Before "Eight Hundred", the four-line warehouse guard battle has been put on the screen twice. In the year following the end of the battle, "Eight Hundred Heroes" starring Yuan Muzhi and Chen Boer, directed by Ying Yunwei, was filmed in Wuhan and released in time, which greatly boosted the morale of the people. The 1938 edition was less than an hour long, but it was painstakingly crafted. At the beginning, the drum book was used to introduce the current situation, and the plots of watching the war in the concession, supporting from all walks of life, and sending the flag by the Girl Scouts established the basic story framework of the later two editions. Surprisingly, although the war scenes at that time were simple, they were quite spectacular and intense. There were already bullet points and stunt scenes such as the collapse of the building and the crushing of refugees. The 1975 version of "Eight Hundred Heroes" is one of the masterpieces of director Ding Shanxi. The officers of Ke Junxiong, Yang Qun and other stars are dressed in elegant and handsome, "a grenade, heaven and hell, see you in the next life!" This version of the battle scene has more "flag protection". Like the "Heroes of the Bridge" of the same period, the flight and bombing scenes can be seen to be assisted by the Japanese stunt team. In the blink of an eye, more than 40 years have passed, and it is the turn of "Eight Hundred". During this period, audio-visual technology has been updated, and the aesthetics and political environment of the times have also undergone earth-shaking changes. How to interpret this history, this battle, is the biggest attraction of the new version of "Eight Hundred Heroes". In addition, films showing the national army's war of resistance on domestic screens are inherently rare. In this sense alone, Guan Hu's "Eight Hundred" can finally be released on the mainland screen, which is worthy of recognition. The literary drama is controversial, which will be discussed later. Let's talk about the battle scene first, I think it can be regarded as a leader in China without a doubt. The battle scenes in the film are divided into five scenes, namely "Ambush/Poison Gas", "Night Attack", "Strike Attack", "Flag Protection" and "Bridge Rush". But before talking about these five scenes, let's talk about a more important concept, which is "sense of space". This is the most scarce quality of domestic films, which is harder to find than box office and investment, and its importance even exceeds that of stars and acting skills. No matter what type of foreign movies are, they attach great importance to creating a sense of space. As soon as "Murder on the Orient Train" gets on the train, it clearly explains who lives and where, and the scenes that follow are all staged on the big stage of several carriages. "1917" took the trouble to explain the delivery route of "No Man's Land - German Defense Line - Small Town - Woods", so detailed that you have to pass several bomb craters and several barbed wire along the way through the position. "Sharing the map" with the audience from the very beginning is the best way to get people involved. By making a "game", the audience will be psychologically prepared for the subsequent dramatic conflict, and will not produce "How stupid! You can't fly over there?" It is a pity that domestic films generally do not pay attention to this point. Often after watching a film, the audience is still confused about the spatial position in the play. It's not the audience's fault, but the choreographer's heart was a mess, and he didn't use the space to create a sense of tension. The dramatic conflict mainly depends on "one cry, two troubles, three tears". There are too many specific examples to mention. The screen space of "Eight Hundred" is composed of "two virtual and two real", the Japanese army positions and airships are "virtual", and the four-line warehouse and the concession on the other side are "real". The two imaginary places are just a point in the concept, and the two real places are detailed descriptions of fine brushwork. The four-line warehouse is composed of trenches, rooftops, layers and sewers. On the other side of the Suzhou River, there are gates, courtesan balconies, casinos (Knife and Sister Rong), a professor's family, a stage, a terrace (news agency reporters) and other viewpoints along the street, connected by scouts and newsboys. The traffic transfer between the interior spaces of the four-line warehouse is full of tricks, and the role is to create a fierce confrontation between the offensive and defensive sides. The "Rear Window" is also a must. The different reactions of the onlookers were finely chopped, as if all kinds of colors were sprinkled into the "feast" of the battle scene, to bring out all kinds of tastes. The film started "entering the game" when the Hubei Security Corps strayed into the Shanghai stadium. The two spaces separated by a river were separated in the "escape" scene. The dramatic force is accumulated in the continuous breakthrough of various finely divided spaces. Finally, in the scene of "Crushing the Bridge", the military and civilians broke through the barriers of space on both sides of the strait, and their emotions gushed out in the gesture of sticking out the fence, which was sublimated. It is precisely because the writers and directors cleverly let the audience share this spatial layout with the people in the play that all the confrontation, escape and solidarity can be so thrilling. Although they are sensational, they are not inferior. There is only one domestic film that can create and utilize the sense of space in this way. The first battle scene of the film is that the Japanese army tentatively attacked the Sixing warehouse, and the door became a turtle in a urn. The tragic situation inside can only be imagined by the audience through the sound of bullets exploding and the smoke coming out of broken windows. This trick is called "Expressing Spirit with Curved Pen". Akira Kurosawa used it in the "Seven Samurai" section of "Long Zang Seizing the Gun", To Qifeng used it in "Underworld" "Truck Fire", and Xu Haofeng also liked to use it in order to show his taste. But the atmosphere of "mountain and rain is coming" is well prepared, and there must be a real storm coming. Fortunately, "Eight Hundred" cashed out very quickly. I even think that in essence, it is a pure action like "Black Hawk Down" and "October Siege". The whole film is arranged according to the logic and rhythm of the battle scenes. I liked the second "Night Raid". The first is the rhythm. The old Abacus and the Dragon Boat Festival fled by swimming, met the murderous Japanese commandos, and escaped the Japanese invaders who were advancing rapidly at the cost of drowning their companions. The two looked back in the river and found that countless Japanese troops were swarming with ants on the back of the building. The Dragon Boat Festival finally couldn't help but sounded a warning, and the people were alerted to beat gongs and drums, and then the fight began. Having accumulated enough suspense, it also laid the emotional foundation for the Dragon Boat Festival to finally resolutely turn back. The fighting in the building is a combination of hand-to-hand combat, gunfighting, and blasting. The Japanese soldiers who show vague faces in the film most of the time confront the defenders head-to-head, so they focus on showing their ferocity. Sheep Gua narrowly escaped the disaster and cut the throat of the Japanese soldier with a knife. When cleaning the battlefield, the Japanese army fought back with grenades. Unfortunately, the CG plasma was used a bit fake. This segment ended with the uncovered shooting of the two sides after the lights were bright. A scene almost mobilized all the spaces inside and outside the building, and the tragic and bloody war was shot indoors. The third scene is the "play meat" of the whole film, and the confrontation is the most tragic. From the news of the reporters to the sales of the newsboys, the Japanese army first explained the crazy strategy of "taking the four-line warehouse in three hours", which was "a game in a game", which further strengthened the dramatic contradiction. Historically, the four-row warehouse position mainly relied on the machine guns on the roof to control the entire battlefield, and there were no gun holes on both sides. Therefore, the Japanese army's strategy was to use vehicles as cover, hide in the shield array and close to the downstairs to shoot dead ends, and then charge explosives. Therefore, the suspense in this section mainly lies in whether the defenders can open shooting holes on both sides in time, and how to repel the Japanese shield formation. The director used almost all cinematic means in this scene. The first is the hand-held photography and fast cutting commonly used in new century war films, which have strong visual impact and a large amount of information, creating a storm-like audio-visual experience. The second is a long shot of sports, adjusting the rhythm and explaining the space. A very important point is that the reaction of people from all walks of life on the other side was also added to the battle scene. He Xiangning watched the battle, and the citizens used signboards to remind the west side of the danger, prompting the audience to consciously bring them into the scene and enhancing their sense of participation. This scene culminated in the tragic and solemn scene of "meat bomb blasting". The strong man covered with grenades reported his name and read "Father, mother, the child is unfilial!" He jumped out of the building and died. I want to highlight the director, that is, there is no slow motion in the most sensational paragraph, and no such low-level coercive means are used to coerce the audience to agree with the film's values. The information is sufficient, and the battle rhythm is not chaotic at all, tough! The fourth scene of "Guarding the Flag" is the highlight of the film. As mentioned earlier, this scene was only available in the 1975 edition. In history, there was indeed a blue sky and daylight on the roof of the Sixing Warehouse, and there were indeed Japanese enemy planes coming. However, such a "Battle of Guarding the Flag" did not occur. The fictional nature makes the scene less logically necessary, and sensationalism begins to overshadow the battle itself. The last two shots on the Dragon Boat Festival hit the windshield of the Japanese aircraft, which is almost a myth. To be honest I don't really like it. The final battle scene is "Crushing the Bridge". It can be said that sensationalism is the main, and fighting is the supplement. The director of this scene mainly spends his time on the narrative. From the meeting between Xie Jinyuan and the enemy chief, he jumped directly to the night retreat, and then flashed the reasons for it, explained the political factors such as the consultation between the two armies and the instructions of the special commissioner, and then showed the plots of the defenders bathing, the miscellaneous army and the wounded. It was not until the heroic brilliance of Yangguai, Laotie, Xiaohubei and others was fully completed, and the end was clearly explained, that he came back and continued to talk about the bridge rushing. Finally, with the affirmation of the commissioner and the call of the people, the officers and soldiers of the bridge rushing were formed. tall image. The significance of the complex narrative is to explain the political significance of the retreat, and to win the sympathy and understanding of the audience. As for the role of the battle scene, it mainly emphasizes sacrifice and earns hot tears. Therefore, it uses slow motion and adds the original snow scene. To be honest, the commercial effect is top-notch, but the style is not high. Personal rating, the five battle scenes are 3, 2, 4, 1, 5 from high to low, of course I know that it may be different from other perspectives. The plot "eccentric" war films can be roughly divided into two categories. The first type focuses on the panoramic display of the battle process. Leaders make decisions and kill the enemy with their lives. With "Battle of Stalingrad", "The Longest Day", "Tiger! Tiger! Tiger! ", etc. as representatives. Another type focuses on personal destiny in war, reflecting on the absurdity and cruelty of war, represented by "All Quiet on the Western Front", "Lawrence of Arabia" and "The Dawns Here Are Quiet". The embarrassment of "Eight Hundred" is that its positioning is unclear. It fluctuates between the panorama of the war and the personal portrayal, inspiring patriotic fighting spirit and accusing the destruction of the war. In the end, it does not rely on any category, and the whole presents a kind of "unreliable" "status. The protagonists of the four-line warehouse defense battle were undoubtedly Xie Jinyuan, the regiment attached, and Yang Ruifu, the battalion commander of the first battalion. Being ordered in danger, fighting the enemy alone, putting tricks on them, events and characters are all there, it is a conventional method of filming, and this is how the 1975 version of "Eight Hundred Heroes" was filmed. Guan Hu obviously has his own ideas. It is understandable that the sixth-generation directors don't like to take the usual path, but the plays they come up with must be convincing. Obviously, "Eight Hundred" did not do this. "Eight Hundred" portrays the young men of the two Hubei security regiments and the old iron, the old abacus, the sheep crutches and other miscellaneous soldiers as the protagonists, which is not a problem at all. Historically, the 88th Division had the title of "German Armourer". In fact, after several tough battles in the early days of the Songhu Battle, its old capital had already been wiped out. After five replenishment of personnel, Hubei borrowed The police and security regiments were "filled in" into the organized land and became the main force of the defenders of the Sixing Warehouse. It is a good idea to start with these little-known little people and show the appearance of all beings in war. The question is, did the director tell the story of the "Eight Hundred Heroes" through these people? I thought no. The film focuses on showing their process from "fear of death" to "achievement of benevolence", which is a common "character arc" in movie plays. In addition to the soldiers and sheep crutches, Lao Abacus, Lao Tie, and Dragon Boat Festival did not want to die, but tried to escape. Lao Abacus succeeded. The Dragon Boat Festival made a change in the night attack and became a benevolent defender of the flag. Lao Tie reached the last scene. Only half-rejected and half-successfully assumed the honorable cover task. The film is about two-thirds of the way through the process of showing them fleeing and fearing the battle. The precious space is not used to show the preparations for the battle, nor is it used to depict the warriors who bombed the shield formation. , only the dialect lines leave a little impression on the audience. Then we can't help but ask, what is the relationship between you and the four-element warehouse defense battle by making these little people so moving? We all know that everyone is afraid of death, but the Eight Hundred Heroes are remembered by history not because they are afraid of death, but because they are not afraid of death. The mistake of the play "Eight Hundred" is that it wants both the heroic theme of the main theme and the profound reflection, both the panoramic events and the individual authenticity. As a result, he took on the title of "Yaobai", but it became a "fraction" other than "Yaobai". He wanted to show the glory and greatness of the frontal anti-Japanese war through a few small people and miscellaneous soldiers who were thrown into the battlefield. Heroes with real names and surnames were photographed as symbols and event boards, and several protagonists who were carefully portrayed did not really participate in the battle events. The people, events, and scenes that were supposed to complement each other were filmed into three skins. The film was more than two hours long, but there were not many really effective expressions. The unreleased version of the legend is actually not better, the advantages and disadvantages are the same, more scattered and more incendiary. Of course, despite these flaws, "Eight Hundred" is still a rare domestic war giant. There are responsibilities, scenes, and characters, and it is worth going to the theater to join in. Falcon Kazama August 19, 2020 Chaoyang In the flag protection, Lao Tie only half refused and half accepted the glorious cover task until the last scene. The film is about two-thirds of the way through the process of showing them fleeing and fearing the battle. The precious space is not used to show the preparations for the battle, nor is it used to depict the warriors who bombed the shield formation. , only the dialect lines leave a little impression on the audience. Then we can't help but ask, what is the relationship between you and the four-element warehouse defense battle by making these little people so moving? We all know that everyone is afraid of death, but the Eight Hundred Heroes are remembered by history not because they are afraid of death, but because they are not afraid of death. The mistake of the play "Eight Hundred" is that it wants both the heroic theme of the main theme and the profound reflection, both the panoramic events and the individual authenticity. As a result, he took on the title of "Yaobai", but it became a "fraction" other than "Yaobai". He wanted to show the glory and greatness of the frontal anti-Japanese war through a few small people and miscellaneous soldiers who were thrown into the battlefield. Heroes with real names and surnames were photographed as symbols and event boards, and several protagonists who were carefully portrayed did not really participate in the battle events. The people, events, and scenes that were supposed to complement each other were filmed into three skins. The film was more than two hours long, but there were not many really effective expressions. The unreleased version of the legend is actually not better, the advantages and disadvantages are the same, more scattered and more incendiary. Of course, despite these flaws, "Eight Hundred" is still a rare domestic war giant. There are responsibilities, scenes, and characters, and it is worth going to the theater to join in. Falcon Kazama August 19, 2020 Chaoyang In the flag protection, Lao Tie only half refused and half accepted the glorious cover task until the last scene. The film is about two-thirds of the way through the process of showing them fleeing and fearing the battle. The precious space is not used to show the preparations for the battle, nor is it used to depict the warriors who bombed the shield formation. , only the dialect lines leave a little impression on the audience. Then we can't help but ask, what is the relationship between you and the four-element warehouse defense battle by making these little people so moving? We all know that everyone is afraid of death, but the Eight Hundred Heroes are remembered by history not because they are afraid of death, but because they are not afraid of death. The mistake of the play "Eight Hundred" is that it wants both the heroic theme of the main theme and the profound reflection, both the panoramic events and the individual authenticity. As a result, he took on the title of "Yaobai", but it became a "fraction" other than "Yaobai". He wanted to show the glory and greatness of the frontal anti-Japanese war through a few small people and miscellaneous soldiers who were thrown into the battlefield. Heroes with real names and surnames were photographed as symbols and event boards, and several protagonists who were carefully portrayed did not really participate in the battle events. The people, events, and scenes that were supposed to complement each other were filmed into three skins. The film was more than two hours long, but there were not many really effective expressions. The unreleased version of the legend is actually not better, the advantages and disadvantages are the same, more scattered and more incendiary. Of course, despite these flaws, "Eight Hundred" is still a rare domestic war giant. There are responsibilities, scenes, and characters, and it is worth going to the theater to join in. Falcon Kazama August 19, 2020 Chaoyang , things, and the play were filmed into three skins, more than two hours long, but there are not many really effective expressions. The unreleased version of the legend is actually not better, the advantages and disadvantages are the same, more scattered and more incendiary. Of course, despite these flaws, "Eight Hundred" is still a rare domestic war giant. There are responsibilities, scenes, and characters, and it is worth going to the theater to join in. Falcon Kazama August 19, 2020 Chaoyang , things, and the play were filmed into three skins, more than two hours long, but there are not many really effective expressions. The unreleased version of the legend is actually not better, the advantages and disadvantages are the same, more scattered and more incendiary. Of course, despite these flaws, "Eight Hundred" is still a rare domestic war giant. There are responsibilities, scenes, and characters, and it is worth going to the theater to join in. Falcon Kazama August 19, 2020 Chaoyang
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