The author | Xie Minghong
Editor| Li Chunhui
First of all, congratulations to Faye Wong for getting rid of the iron law of "good songs can't work". A soft-hearted "As Desired", combined with two tragic stories in "My Father and Me", can completely pull the sales of tear-wiping small facial tissues.
Secondly, congratulations on the "Me and My Series of Directors Proposition Essay Contest" held to the third session. In 2019, "My Motherland and Me" turned out to be an accident of a big festival year, who knew that it was passed down endlessly, and it could become the same new folk custom as the "Spring Festival Spring Festival".
Last year, "My Hometown and Me" performed well, earning 2.829 billion at the box office while douban scored 7.1. This year's National Day file "My Father and Me" also occupies the advantage of family fun in the "double strong competition" pattern with "Changjin Lake". According to this situation, "Me and My Lover", "Me and My Alma Mater", "Me and My Boss"... The IP universe can be infinitely large.
Of course, as a "competition judge", the most participatory project for the audience is still "scoring". In front of the platter main theme film, the directors are no longer unique, only the tense stimulation of temporary texting and competition for the c position.
According to the hard candy Jun, the most interesting is Xu Zheng's "Duck Prophet", which has a relatively high degree of completion in the four chapters. Zhang Ziyi's directorial debut "Poetry", which was previously most worried about Hard Candy Jun, was much stronger than her episodic debut "Shangyang Fu". The film queen does not have to go down, and I will still specialize in movies in the future.
Wu Jing's military image has stabilized to the point of "not smashing the pot no matter how you shoot", and the righteousness of the family and the country are properly integrated with the deep love of father and son. Slightly regrettable, may have to "bottom" is Shen Teng's "Youth Line". The collective momentum of the actors of the twist system is like a rainbow, but the propositional exposition is more suspected of off-topic, and the connotation expression is somewhat vague.
An inch long and an inch strong, an inch short an inch dangerous. The advantages of short films can mask the structural problems of feature films, but how to stimulate the audience's nerves within a limited time is the field that the "platter system" is groping.
<h1 class="pgc-h-arrow-right" data-track="10" > Wu Jing's history, Ziyi wrote poetry</h1>
In "Chosin Lake", Wu Jing's younger brother is Yi Qianxi. In the "Riding the Wind" section of "My Father and Me", Wu Jing's son is Wu Lei. Could it be that this is the dream family that 900 million girls want to join?
At the beginning of "Riding the Wind", Wu Jing's face full of stories quickly brings the audience into the prescribed situation. In 1942, the Japanese army carried out the "May Day Sweep" of the Eighth Route Army's Jizhong Military Region, and Ma Renxing (Wu Jing) led a cavalry regiment to negotiate with the enemy while covering the transfer of ordinary people.
"Your mother told me that I can't control you as Yue Fei, but I can't let my son be Yue Yun." Ma Renxing's education of his son Ma Chengfeng (Wu Lei) is a typical Chinese father's love: it is a candy with a bipolar shell and a deep love for his son. Mistakenly thinking that riding the wind and riding the horse "Big Treasurer" to play, Ma Renxing kicked the baby into the river with a flying leg. Knowing that riding the wind is a mission, I want to apologize but I can't say anything.
Riding the wind was shot by the pregnant village woman as an enemy, a bullet cut through the skin of his neck, Ma Renxing did not say anything but secretly pulled a wormwood to disinfect his son. Throughout the ages, ma Renxing chose the former.
At the moment of the charge, Ma Chengfeng had no fear on his face. When the big treasurer returned alone with his blood, Ma Renxing finally couldn't suppress his emotions and hid in the grass and cried bitterly. When the righteousness of riding the wind and the scene of the village maternity are intertwined, and death and rebirth complete the mutual confirmation of the theme, the spark of revolution is still burning and will never end.
The boy named Ride the Wind lived forever in 1942. Shi Ruhong, who worked overtime in 1969 and did not return home, always wrote poetry in heaven. Zhang Ziyi's "Poems" is the second chapter of the film, which tells the story of Shi Ruhong (Huang Xuan) and Yu Kaiying (Zhang Ziyi), a couple who study rocket solid fuel in the Gobi, who teach their children by example.
Due to the high degree of secrecy of his work, Shi Ruhong had to deceive his son that he was "writing poetry in heaven." In order to find the perforation position, Shi Ruhong dedicated himself to the cause. The strong wife Yu Kai coaxes the children to their fathers in overtime, and regularly writes poems disguised as husbands.
A hysterical rainstorm washed out the cruel truth, and the stoic Yu Kaiying finally did not hide from his son. And the son's sentence "My former father and now my father are gone" makes the audience feel the debt of the special profession to the family.
Yu Kaiying's female perspective is the biggest attraction of "poetry", and after the widow, she has no time to grieve before she can devote herself to the work battle. On the one hand, there are big country craftsmen, and on the other hand, family tugs, she had to reduce the grand cause done by the couple to "poetry" and "Kong Ming Lantern" for children to understand. Shi Ruhong, poetry is like a rainbow, and rockets are like a rainbow.
"Life is for burning, death is for validating life, and the universe is for making thinking small." Overall, Zhang Ziyi's creative attempts are even greater than Wu Jing's. She shows the contradictions that the two generations cannot bridge, the small family affection is difficult to fulfill, and the service to the motherland is sacrificed.
<h1 class="pgc-h-arrow-right" data-track="41" > Xu Zheng sells wine, Shen Teng pretends to be a father</h1>
Spring River Plumbing Duck Prophet. As the elder of the three dynasties of the "Me and Mine" series, Xu Zheng has obviously figured out the type of question. "Duck Prophet" tells the birth of the first TV commercial in New China, in which the opportunistic Zhao Pingyang (Xu Zheng) is full of baggage.
In order to save money to buy a sofa, he drew his own drawings and built a car behind closed doors, and as a result, there was no space at the entrance of the building, and he could only saw it open into his home; he participated in the Canton Fair and transported back more than a dozen tropical fish, sold them to the neighbor Uncle and made a lot of money; the price of duck eggs in the village was low, and he ran to the city to sell.
Zhao Pingyang epitomized the awakening of the market economy consciousness of ordinary people at that special node in 1979. Ah, no matter what way to get money is the most spiritual! However, such a million essential oils have made difficulties in the promotion of "Ginseng Gui YangRong Wine" in their own factories. No matter how Zhao Pingyang and his son (Han Haolin) act on the bus, they can't sell more than one bottle.
Zhao Pingyang, who accidentally learned of such a thing as "advertising", thought of a way to shoot advertisements for medicinal liquor. At first, he was the object of ridicule, and no one in the neighborhood wife and son factory leader thought he could make things happen. Later, "Ginseng Yang Rong Wine" became a hit, and the arc of the character suddenly stood up, and the overall completion was quite round.
At the end of the film, the advertisements such as Jianlibao, Dabao and Wangzai Milk broadcast by "Ginseng Yangrong Wine" made the audience full of memories and surprises. It can be said that Xu Zheng is labor-saving and clever in his appropriation of the style of ghost director Wes Anderson (symmetrical composition, high-saturated color collision, close-up of small things, etc.). He knows exactly where this style is best used and how localized stories can be cleverly grafted into it.
Also a comedy, Shen Teng is obviously not as good as Xu Zheng will make a clever. Although the fourth chapter, "Juvenile Line", is densely laughed at, it is always a bit harder to turn and pave. On the surface, this is a story of "the robot developed by the son travels through time and space and becomes his own false father". In detail, the film seems to also want to express the theme of son and father relaying the dream of science and technology.
However, the guidance of family affection to the son's scientific research spirit is vague and weak. Shen Teng, as an emotionless robot, fills in the small missing father's love, and violates the procedural warning to "sacrifice himself to save his son". This ending, which goes beyond the cold procedural setting, makes it fall into the trap of "mechanical sensationalism". In the end, Shen Teng's grimace at the adult Xiaoxiao (Wu Yuhan) did not bring more surprises to the audience.
Especially for Ma Li's single mother role, in addition to the impressive bridge section of the park "hanging", it is difficult to delineate her role function throughout the chapter. Perhaps it is the CP sense of long-term cooperation, and the middle once made people think that Shen Teng would have an emotional drama with Ma Li.
Allen played a big fool, and Chang Yuan's car sales encountered embarrassment. Spicy Yoko's teacher is like fat Ma Weiwei, and Wang Chengsi's bionic pigeon is exposed. The sense of sketches or dramas cannot be shaken off, and it is also a drawback that Happy Twist has not been able to overcome for a long time. Of course, the most trembling thing is the inner volume of Shenzhen education, after all, not every pair of parents can carry the fatal parent-child activity battle.
<h1 class="pgc-h-arrow-right" data-track="42" > from "motherland" to "fathers", the new mainstream creative apocalypse</h1>
How to let the story of China's century-old development be understood by more posterity, and can have a certain degree of watchability and commerciality, at present, only the "Me and My" series is doing systematic answers. It's just that from "My Motherland and Me" to "My Hometown and Me" to "My Father and Me", the chapters have gone from seven to five to four, and the shrinkage trend is obvious.
In Ideology and the Ideological State Apparatus, Althusser argues that ideology constructs people's daily life experiences, meaning that in order for the media to successfully construct ideology, they must "make the relevant values real." In "Motherland" and "Hometown", basically relying on iconic historical symbols to reduce the emotional laying of the film itself, it can be said that the audience brings their own background knowledge to watch the story.
In "Father's Generation", except for Wu Jing's "riding the wind" related to the anti-Japanese resistance, the other three stories no longer have symbolic advantages. Then, the emotional climax of the film needs to be laid by the creators themselves. At the end of the "poem", the son and daughter become Haiqing and Chen Daoming, more or less separated from the previous paragraph. It is also somewhat unreasonable to suddenly let the little daughter become an astronaut, but for a while we really can't think of a better technical technique to express the modern inheritance.
"Juvenile Xing" directly abandons the current time and space presentation, and avoids the risk of historical narrative hollowness through the connection with future technology. The risk is averse, but the whole story has also lost its solidity, you can say it happened in Shenzhen in 2021, or it can happen in Shanghai in 2011. As a result, it is difficult to awaken people's specific historical memories like the first three stories.
Several chapters are created by different directors, and everyone is good at different areas of content, which ultimately leads to uneven quality. Some stories perform well between pinching entertainment and the main theme, while others are simply applying the popular memes or vocabulary of the times, without digging deep into the characteristics of intergenerational regional groups.
Last year's "Hometown", in the "UFO In the Sky" unit, many viewers felt that it was too far away from the real Guizhou. There are many manifestations of scientific and technological progress in rural Guizhou, such as the use of agricultural machinery, the online operation of related software, and the release of notices on the WeChat platform, etc., but Chen Sicheng does not seem to have found the characteristics of poverty alleviation in rural Guizhou.
Although the "Motherland" of kaishan selects ordinary individuals in the big history, it actually tends to construct a contemporary history with intellectuals as the main body and scientific and technological development as the main line. And when intellectuals become the face of national memory, the "new workers" group is inadvertently obscured. Although "Hometown" takes the initiative to make up for it, it has fallen into the stereotype of "hometown is the countryside" and ignored the homeland memory of urban residents.
"Hello Beijing" in "Motherland" and "Good People in Beijing" in "Hometown", with Zhang Beijing as the coherent protagonist, glue the history of the country and the current life. The lack of the Beijing chapter in "Fathers" is somewhat regrettable.
It is hoped that the new mainstream film will solve the problem of ideology and commercial logic in a short period of time, which is a quick success. But we also want them to move away from simple political correctness and explore richer emotional expressions and vivid presentations of individual stories. After all, being a judge every year is still very addictive.