The basic structure of "The Wind" is the suspenseful pattern of Japanese-style secret room murders. From this, you can also see the torture scenes of violent cult films, the emotions of ambiguous lesbians, the endless handheld and sports scenes of American dramas, and the ending. Returning to the main theme, a successful experiment from localization to style hybrid has been completed.
This movie at least shows one fact: as long as there are no mistakes in the political direction, the tolerance of Chinese genre films seems to be quite large: it is no problem to describe torture and violence, as long as the great suffering is for our party-state "belief" ”, so the only relatively complete torture scene preserved in this film is that of the “old ghost”; the images of the demon and the cowardly fat man only exist within the national army, which fully proves the corruption and depravity of the enemy; No matter how handsome you are, you will die in the end, whether you are in the national army or Japanese...
Relatively speaking, genre films have a high chance of success. It is an established law that has been tried and tested, not to mention that "The Wind" is a mix of countless films. The domestic red film, and the film has spared no effort to brush the edge on the aspects of sex, violence, etc., at least it proves that these creators finally realize that the film is also a recreational product in essence, and hope to learn some “general rules” that have been successful in the industry ". It's hard to imagine that after the frenzied commercial experimentation in the late 1980s, the Chinese genre seems to have stalled for nearly 20 years. On this day in 2009, the genre craze seems a little too late. However, little is better than nothing, late waves will only be rolled stronger, and suppressed desires may only be in the wind and rain.
In fact, The Sound of the Wind is clearly clumsy in every way. In the pattern of suspense films, there are too many faults in this film, and it is not too difficult for fans of Japanese suspense films to guess the logic and the answer; torture scenes are a bit too pursuing the meaning of "torture". For a genre movie that relies on plot and emotion, violence should be something that can be done or not done. The sentence of Su Youpeng and Li Bingbing's punishment is a bit too casual, and Zhang Hanyu's paragraph is infinitely enlarged. Of course, this reason may just be Because of his political stance; in terms of film shots, he wants to control the rhythm with high-speed movement. Obviously, Gao Qunshu is still a TV drama director. I haven't seen him make any progress in film aesthetics after "Tokyo Trial". The scene of the film is indeed a bit American drama style, but it is better to say that he just brought in the documentary style of the TV station work. Without Chen Guofu's help, I don't know what he would have cut.
In domestic movies, this assortment type film is already quite good. Our "pretty good" is always conditional, and the natural experience of being taller than short is already a natural experience that we know well, and its root is that we think we are not good enough.
In fact, the classification of so-called domestic genre films such as "spy war films" is indeed a bit of entertainment. "Spy war" just illustrates the background of an era. In essence, "conspiracy" and "suspense" have the opportunity to mutate in any era. However, in the general environment, it is also in the general environment to produce such a genre film with Chinese characteristics. Inevitably.
In a country where genre films require strict "political direction", audiences are willing to relax conditions and lower all public standards. In essence, this behavior is the same as "political direction". It seems to be tolerant, but in fact it is just a stopgap measure. It's a long way to go.
It's just the beginning for such an assortment of films, and it's in full swing. As for what's going on behind it, we need to be terrified. It's the same way you look at the fate of this country, even if it looks hot.
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