I have never liked toy guns since I was a child, and disliked boys who play with toy guns. Of course, it is possible that they isolated me first. Coupled with the two physiological reactions of fainting blood and fainting straight men, in this feast of bullets and toxic masculinity, there is often the urge to leave the venue under the guise of going to the toilet. Of course, this film is also considered an improvement in the hand-torn guizi war film? But maybe I've heard too many compliments and my expectations are too high. This kind of progress from 0 to 0.01 can't satisfy me.
First of all, yes, my favorite scene in this film is Zhang Yi's successful escape. When they were traveling in the sewers, what I thought in my mind was "Run! Forest, run!" The most empathetic thing in the whole film was deserters. They showed me the fragility and fear of human nature. On the contrary, the fearless soldiers were in my eyes. more like a machine. Therefore, my heart was turbulent during the escape, I hope they can escape smoothly, and silently cheer for the deserters in my heart: escape! Run away! You can be vulnerable and it's all too stupid to be worth your life. Therefore, Guan Hu's feminization and ugliness of Zhang Yi's character made me particularly uncomfortable.
In addition, I also like the scene where the Hubei soldiers are struggling and unwilling to shoot the Japanese young soldiers. This should be a very rare scene in the domestic war film showing the fragility and helplessness of the Japanese soldiers. The young Japanese soldier knelt on the ground helplessly begging for help, which made people feel pity. Although Japan is an aggressor, such aggression will be condemned forever in human history, but their soldiers are also tools of war who have been deprived of their humanity.
Let's talk about the dissatisfaction with the film. The biggest disappointment is that the film does not reflect enough on "nationalism".
A theory often referred to in sociology, the "social construct," deconstructs concepts we take for granted in our daily lives. For example, "state" is the product of social construction. It did not exist in ancient society. "China" is even younger. It has gradually formed in history and has been strengthened by various institutions. Today, it has become impregnable in the eyes of ordinary people. The presence. But at the end of the day, it is false, an indoctrinated cognition.
Nationalism attached to the existence of the state has repeatedly caused tragedies throughout history. Hitler and fascist Japan both gained support by propagating nationalism to the people. Ironically, on the other side of the war of aggression, those countries that were invaded and oppressed also relied on propaganda for nationalism to arouse the people's sense of resistance. There is an infinite loop, endless life, and a sense of misery and despair that human beings cannot survive without relying on poisonous milk. So we have to criticize statism and even the concept of the state.
The military plays a vital role in consolidating the existence of the concept of a nation. Politicians' propaganda to soldiers is always glorious and great, but in fact they are just objectified people who are deprived of human rights of suffering and vulnerability and turned into war machines. In my opinion, soldiers receive inhuman training and discipline, and are baptized in the poisonous milk of statism every day. Individual differences are obliterated, uniformity has become a tool of obedience, and they are the direct victims of statism.
Although this film shows the brutality of war, which itself can cause people to reflect on extreme nationalism, but in my opinion this is very simple, it ignores the three-way between state-statism-militarism of succession. On the contrary, from the perspective of the tree flag, it not only has no reflection on nationalism itself, but even has a great sense of admiration.
The second complaint is the prevalence of masculinity in the film. This is basically a common problem with all war movies, which is why I really rarely like war movies. The whole film is full of men fighting and killing. Such films teach our little boys: men should throw their heads and blood, men should dance knives and guns, men should not be afraid and vulnerable. In the end, the dialogue between the head of the regiment and the Japanese officer on the horse brought the masculinity of the whole film to a climax. The Japanese officer said: "This is a duel between men and men". On the edge of the stool ready to flee.
It is not difficult to see that Guan Hu's films have very few female roles. From He Xiangning, who plays soy sauce, to female soldiers who swim and send flags, women have very few opportunities to speak their lines. When I write this, I think someone must call me a gangster, aren't all soldiers in the army male? But what the women were doing when the war happened is something that interests me a lot. He could have explained more about the stories of He Xiangning, the girl who helped raise funds, and the female casino owner, instead of flashing by without a conversation.
If you have watched Guan Hu's "Old Pao'er", you will know that the female characters in his films are also flat. Women are obscure, insignificant, objectified and eroticized. From Laopao Liu Ye's unabashed forcible behind-the-scenes conversation, to today's Jiang Wu and Wang Qianyuan's blatant voyeurism and obscenity, they all cater to and consolidate male hegemony.
The above points made me want to sigh while watching this film: My nieces are 6 years old and 4 years old respectively. When I grow up, are there only so-called progressive films to watch?
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