On the possibility of the application and sublimation of opera elements in Yaozhong
"Emotions move mountains and rivers and attract resentment. Controversy is mostly caused by slander." With a little tiredness in the gradually calming down, I decided to write something, because I still have something to say.
At the beginning, I also ask the officials to forgive me, everyone must not be able to bear the urge to let me reiterate the life and death of "Yao Bai", but some words are not unpleasant, and it is okay to be tired. In my opinion, the additional discussion accompanying "Eight Hundred" is very dramatic. As the sages once said, people are political animals, and now, people are surrounded by images. A well-crafted work of the same level, encountering a long backlog of enthusiasm for watching movies and discussing politics inside and outside the screen. If you look closely, you can easily find that those people who are anxious and desperate to deny "Eight Hundred" from the perspective of non-movie quality are wandering around. Posting and arguing in a frenzy, those people who praised and contributed to the box office by themselves, crowded the exhibition hall of the Shanghai Sihang Warehouse, people need movies like "Yaobai" more than variety shows, TV series...
For example, it is half sea water and half fire. The two are incompatible with water and fire, but they are compatible with water and fire, because, ah, this actually only shows one truth. We all believe in the hard-won society of today's beautiful life. A public opinion field large enough, strong enough, and enthusiastic enough for people to temporarily escape from the current abnormal real life. No wonder, the blockbuster blockbuster "Eight Hundred" was born for this purpose. With such a fate, you have to bear your fate!
From this, let's talk about the movie itself, why not enter the question from perspective, and see how fascinating this story of 2.2 billion box office is. Let me tell you an interesting story, about the 87th edition of "Dream of Red Mansions" that I read in my spare time and boredom. The plot and music haunting my mind, making me so intoxicated that I don't want to wake up from the red pool. , I remember what Brother Lu Xun said:
"Dream of Red Mansions is a book that many people in China know, at least, know the title of the book. It doesn't matter who the author and the continuation are, the fate alone depends on the readers' eyes. Taoists see lust, talents see lingering, revolutionaries see platoons full, gossipists see secrets in palaces... Baoyu, who is under my eyes, sees many deaths; those who have achieved many loves should be greatly distressed, because there are unfortunate people in this world. There are many. Only those who hate people rejoice in misfortune, and in their life, there are few obstacles to small joys. However, hating people is only an escape route for those who love others.
In "Eight Hundred", we can also see all kinds of current... Citizens and audiences saw the heroic sacrifice of soldiers and soldiers, the tragic war of resistance at that time, movie fans saw the creator's diligence, and the difficulty of the movie coming out , Film experts see the revival of the market, the spark of saving the market, and historical critics see... The historical scene that is not allowed to be sublimated, the people and symbols that are not allowed to be praised, or some who believe in rumors Seeing....the object of criticism that does not exist in the time and space of the movie is fighting with you ... It can be said that a hundred flowers are blooming, and I was fascinated for a while, but it also taught people to see a little sincerity and unbearable. Not to mention the characters and clips that have been erased and deleted, helpless to blur the author's expression, and indiscriminately, make "Eight Hundred" a mysterious veil of "unfinished work". Otherwise, the movie is an art of regret. At this point, it is unfortunate that it shares the same fate with the original book "Dream of Red Mansions".
Therefore, I must also be frank with the judges. What I want to describe is the most touching viewing angle of "Eight Hundred" to me, that is, the use of opera elements by the screenwriting team in the film. Involving the interpretation of the theme, various comments emerge in an endless stream, of which two mainstream points can convince the public. The first is that, under the background of sophisticated art scenes, costumes, props and group performances, the plot tension of the original story and the sense of presence generated by the scenes shown in the film are displayed on both sides of the Suzhou River in the film. Like a stage separated by a curtain, the Sixing Warehouse and the British and French Concession subtly formed a set of positional relationships for fighting and watching. The Battle of Songhu was helplessly mixed with the main reasons for the international forces to watch. At the same time, just like the struggling resistance in the four-line warehouse, the crowd on the other side had a panoramic view. The anxiously-awaited crowd gradually cheered up during the observation. , eager to give a stronger counterattack to the Japanese army, and called for the peaceful retreat of the brothers of the national army.
If it is understandable to say that the world is bizarre, then the spectacle built by the war, together with the set of viewing angles to be restored by the film, has undoubtedly produced a clever arrangement and a natural sense of audience substitution. The audience in the cinema, like the crowd on the other side of the story, cheered, cheered, worried and wept for the heroes who fought against the enemy. They still remembered the most conspicuous stage among the many market characters on the south bank of the Suzhou River, where a plaque with "Heroes Lasting" was displayed. On the stage of Zhao Zilong every night, the scenes of Zhao Zilong's seven in and seven out, killing the enemy, complement each other and are so vivid.
The second is the precise shaping of the group portraits of soldiers in the battle sequence, as well as the wonderful brushwork that integrates opera to promote the development of soldiers' characters and present the theme. When I heard a lot of criticism on the film level of "Eight Hundred", the rationality of the film reviews firmly guided me. Some of the views can finally be agreed with for the proliferation of characterization, lack of focus and possibly excessive sensationalism. However, regarding the various passages related to Chinese classical opera that appeared one after another in the film as a question-pointing tool, I felt that more thoughts should be buried in these screenwriters, and an exploration direction for interpreting the film might be came into being.
Observing the gaps between the battles before and after "Eight Hundred", it is not difficult for everyone to find that there are pure white horses flying around in the fire of war, and Xie Jinyuan, who rode on a white horse and confronted the enemy leader mightily, sang in the warehouse before the war. Yes, the shadow play attached to the old-fashioned national map, as well as the "cowardly" deserter "Old Tie" played by Jiang Wu, who sings loudly before his death, the old Huang Zhong sits and kills the enemy, and even vividly portrays the recruits. The "big hero" in Xiaohubei's eyes, that is, the Dragon Boat Festival played by Ou Hao, is like a fantasy of Zhang Zilong, the god of war. This series of plot settings all implicated and reflected the elite officers who were full of enthusiasm for their home and country, or the bottom-level "miscellaneous" soldiers, and the heroic and invincible self imagined in their minds. The concept of home and country is different. In the army group portraits that grass-roots soldiers lack inspiration, the film's handwriting is well integrated with the elements of opera. It is not only the finishing touch in the war scenes, but also awakens the hearts of soldiers who have grown up through fierce battles. It is derived from folk opera. The legendary hero complex provides an emotional channel to open up the audience's resonance.
In his famous social science work on the origin and spread of nationalism, Imagined Communities, Benedict Anderson writes,
In the end, a nation is a community because,
Although there may be widespread inequality and exploitation within each nation, the nation is always imagined as a deep, egalitarian comradeship. Ultimately, it is this fraternity that has driven millions of people over the past two centuries to slaughter or die in peace for their nation.
It strikes me that the power of "Eight Hundred" not only comes from the creator's pursuit of film quality and the urge to create it, but also the thinking and talent of their respective technical and industrial departments, at the audio-visual level of the film, to try their best to restore reality. . At the same time, the ingenuity of the screenwriter is also indispensable.
"Eight Hundred"
Great!
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