I don't understand which TV drama's success promised Hu Mei's wolf ambitions. During the hype period when the film's box office reputation was poor, both the producer and the actors used a condescending gesture of contempt, trampling on the sincerity of the film. It's not that the subject of Confucius cannot be photographed, it's just that the chaotic and vast Central Plains feelings for thousands of years are far deeper than the spiritual background of worrying about the country, worrying about the people, and being lonely and frustrated. Can it really be explained in two hours? When filming Confucius, movies should be used to open a channel to the cultural spirit of the sages, not the show-off interpretation of The Analects of Confucius.
The film is very sophisticated in the design of costumes and props. Chow Yun-fat is dressed in plain clothes, and the solemn and frequent worship has become an important means for the film to do its best. Jiagu Huimeng, Wuzitai Rebellion, Falling Three Capitals, Zijian Men... The collection of allusions only captures the most cutting-edge and essential key conflicts. The compression of time and space has weakened the foreshadowing, which will inevitably lead to emotional tension. Dazed and the audience's hopelessness. Maybe it's really as netizens said, it's probably a "story of intellectuals playing soy sauce along the way", and this tofu-like plot is different, all kinds of pretending, acting cool, ambiguous and bloody. . Hu Mei, who can't get out of the classic routine of TV series, with her ignorant and fearless courage and courage, cut out a well-dressed but bloodless dry body for the saint!
One thing that the film insists on better is that it always focuses on Confucius at the center of the story and the lens, and follows the path of the biography, the stars and the moon, and never overwhelms the host. However, Chow Yun-fat's performance was not satisfactory, even though Fa Ge himself admitted that "he doesn't understand Confucius". Then such a temporarily assigned character image is destined to be integrated into the self-understanding and reading positioning of many actors. Of course, if you read it well, you can have a unique flavor. It's just because of Chow Yun-fat's habit of battling heroes, what I see is more of a stylized form of performance that confines itself and limits the content and style of the film. I don't like the brows that are frequently raised when he recites his modest and courteous lines, as if his benevolence, righteousness, courtesy, wisdom, and trustworthiness are just empty talk without sincerity. My favorite character is Ji Sunsi, created by Chen Jianbin. He doesn't talk too much, doesn't use soy sauce, has the foundation of tolerance and handling, and is a real good that reflects the spirit on the physical form, which is very expressive.
The music of the film is really majestic, full of majesty and tragic swept away. From the beginning to the end, don't stop for a moment. What a pain, what a pain it is. If Confucius was really sentenced to be a disciple of Lao Tzu as stated in the play, then in his ultimate ideal of ritual and music, there must be a bit of Taoist elegance and detachment hidden. Such ethereal and great wisdom should be like the sorrow and openness of a white silk in the sky, rather than the ruin of a country and a family that is paved with thousands of troops.
Using such techniques and ideas to transform Confucianism into a lens can at most create a portrait of "Mencius" that has been scripted. Reading "Confucius" and reciting Confucius must be heart-wrenching pain beyond words.
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