Scolded and questioned, what is the problem?

I personally can eat the style of Cheng Er, and his three previous films "Criminals", "Border Storm" and "The History of the Demise of Romance", I liked it very much.

Cheng Er said that the theme of his film has never changed. The fate of the individual under the big time, the fate of man "between the choice he can fight for and the choice he has to make."

Old friends who have followed us for a long time know that this is also a common theme for us to write stories and tell gossip. So we also pay a lot of attention to the movie "Nameless".

At the same time, there are also two male protagonists in "Nameless", Tony Leung and Wang Yibo. The former symbolizes the highest point of the acting skills of Hong Kong male actors, and the latter is a representative of the top era of domestic entertainment, and is now the top 3 among the top male artists.

If you want to read "Nameless", you must first read Cheng Er. Cheng Er is an author and director, and his works are always expressive, and this expression is beyond the conventional logic inherent in the market.

His works are God's perspective, with a compassionate mentality, looking at each person's destiny and various ups and downs.

For example, in "Criminals", "Border Storm" and "The History of the Demise of Romance", he does not stand on the moral high ground to judge several negative protagonists in conventional narratives: thieves, drug dealers, gangsters, female stars, killers, traitors, prostitutes and Japanese soldiers, but to profile the choices they have to make in their respective lives, to show the gray areas of human nature.

The same is true in Nameless.

It's just that the protagonists have been replaced by underground parties, secret agents, traitors, mistresses, Japanese soldiers, etc., because many of them are incognito and use code names, so they are called nameless.

The theme of "Nameless" is the helplessness of ordinary people in the context of war, and the fate that nameless people cannot get rid of and helpless.

For example, the revolutionary betrayer played by Huang Lei, he said on his lips, I am a weak person, not adapted to this era of great change, I have a piece of land in my hometown, and I always want to go back to my hometown to farm.

For example, at the end of the story, the senior Japanese officer who was slashed by Wang Yibo said that he refused Chiang Kai-shek's invitation to train the Kuomintang army, and wanted to return to his hometown in Japan and live peacefully, but he still failed to escape the fate of being killed.

One head and one end, both of them died in other places.

However, these story lines have unfolded, but they are not complete. Because the story line of the underground party played by Wang Yibo and Tony Leung takes up too much space.

In particular, Wang Yibo's length is too large, and even adds a long time to the fight between him and Tony Leung. This is not necessary, if it is greatly cut and turned into an extremely streamlined fight scene in "The History of the Demise of Romance" and "Border", it will not hinder the expression of the entire film. It will also leave more time for the rest of the story line throughout the film to fill in the details.

Wang Yibo has no problem becoming the protagonist of "Nameless", and becoming the absolute protagonist breaks the narrative balance.

The secret agent played by Jiang Shuying, the underground party played by Zhou Xun, Minister Tang played by Dapeng, Miss Fang played by Zhang Jingyi, etc., are all at the point, and it is difficult for the audience to quickly understand their character settings, the ins and outs of their stories, not to mention the in-depth interaction with the theme.

Multi-line narrative, the narrative balance is broken, only one story line is expanded in detail, don't blame the audience for having difficulty understanding the core theme of the film.

This is also a film with the main theme of anti-Japanese themes, and there are various other red lines of expression.

This main theme narrative requires absolutely clear opposition between right and evil, good and evil, the aggressor reaping a heavy price, and the people who oppose the aggressor are positive and positive, punishing evil and promoting good, and finally winning a great victory. This narrative is deeply rooted in people's hearts and is what most people want to see.

The new narrative that Cheng Er wants to write is destined to be niche. Because of these red lines, some are regulations, and some are morality of the human heart.

Cheng Er took the initiative to embrace capital and top Wang Yibo, wrote a new narrative, and tried to make a breakthrough in business, which he did.

In this year's Spring Festival, "Nameless" is not the most TOP movie at the box office, but it must be one of the most discussed movies.

As of our writing, the box office of "Manjiang Hong" exceeded 1.7 billion, the box office of "The Wandering Earth 2" was 1.5 billion, and the box office of "Nameless" was less than 400 million. The number of ratings of the three on Douban is 330,000, 360,000 and 410,000 respectively, and "Nameless" is even better.

On social media, Wang Yibo's fans have also formed a very high voice, and on platforms such as Weibo, Douyin, and Xiaohongshu, most of the popular discussion posts can see high praise and comments from fans.

The publicity and box office of "Nameless", Wang Yibo and his fans did play a crucial role. Before its release, this movie, which was generally predicted that the box office would not exceed 400 million, was able to dominate the pre-sale box office champion for many consecutive days after the pre-sale of the Spring Festival file opened, which is also proof.

Wang Yibo also gained a lot, at least completed the initial transformation of the male protagonist of the TV series to the male protagonist of the movie, and the performance of individual scenes in "Nameless" was even somewhat outstanding.

As for director Cheng Er, he did not use the movie "Nameless" to perfectly show the theme he wanted to express, "personal fate under the big time, the fate of people between what they can fight for and the choices they have to make", but in reality it may have accomplished.

In reality, he shows the powerlessness of authors and directors in the current era—the inability to fully express themselves.