Snow shame! Wang Baoqiang, who took the golden broom last time, the new movie is not just a turnover

The last time Wang Baoqiang was a director, he won the Golden Broom Award.

I actually ran to receive the award.

This time "In the Octagon Cage" is obviously not the same.

Although there are flaws and imbalances, the overall advantages far outweigh the disadvantages.

Xiang Tenghui, played by Wang Baoqiang, has been covered with greasy discoloration in the first half;

After tearing this shell, he fits the story of the character very well, and he plays it right.

That non-standard Sichuan accent, I can hear "not quite right" for a non-Sichuan-Chongqing person, but it doesn't matter.

The base color is an ordinary little person (praise, the description is very typical), and the toughness and rough texture of the cold bitter child are very close.

the second is soil;

Talking about soil here is not a concept that is not fashionable or extravagant.

It is the kind of "soil" that connects with the earth and mountains, and has a sense of belonging "like a grain of dust falling into a piece of sand".

Lu Yuchuan's drastic change of face and the dim and unknown light, he was thoughtful and unconscious, and there was a deep and dull immersion space.

At first, I saw the misfortune of Su Mu's family, the unbearability and compassion after listening to my bedridden sister, and then the thousands of complicated emotions when I returned to my hometown to visit my old mother who no longer knew him, and when I listened to the other party's heart and thoughts about my past, all of them were simple and sincere, and moving.

In the last fighting scene, watching Su Mu win the match in the passage, his whole person is like a beacon that has lost its light but is still releasing energy.

It is like a forgotten devastated and desolate lonely mountain, but it still echoes in the vastness, crisscrossing and leisurely.

Wang Xun's role is relatively functional, but not a tool man at all.

There is a sense of natural vividness, landing and cuteness in ordinary routines without traces of industrial routines.

Shi Pengyuan and Chen Yongsheng, the second half is completely a tear harvester-like existence.

Until I finished watching, I didn't find the little sloppy of my youth, which was actually "Awesome! Sloppy Ben Hu in Boyhood.

The former is a boy who fights his dreams tomorrow with baseball in the rough land of the north, in the fierce cold wind and scorching yellow sand;

The latter is an orphan deep in the mountains of the southwest, on a desolate dirt road, in a blood-colored octagonal cage, begging for a bite of food and fighting for a dream.

Similar setting and completely different geographical time and space; The former is a documentary, the latter is a movie, and the sloppy performance is very real and catchy.

Xiao Yang's cameo appearance as unscrupulous profiteer Wang Jingfu has few scenes, but he tried to exploit loopholes to pull Tenghui into the gang, and later fell into the well to slander and slander, and his performance is typical.

Three points of rustic gas from small places and small cold doors, three points of oil and gas with limited vision of the pattern, three points of treacherous slippery breath that does not change the philistine splashing atmosphere, very landing, and there is a weak sense of joy.

Liu Hua's cameo as a small boss is another kind of "former partner who turned against him after breaking up".

The same greed for money, the same transgression and the same disputes, he and Xiao Yang's cameo role has a very different texture.

The most interesting thing is that Li Yang, the director of "Blind Well" and "Blind Mountain", made a cameo appearance as a sanctimonious, greasy and greedy private school principal in "Octagonal Cage".

Without saying a word, the lion opened his mouth.

These cameo roles are not heavy, but they weave a very realistic web one by one.

First, the positive metamorphosis logic of "negative" protective colors

In the film, the unattended children in the depths of the mountains are immature but forced to mature, and they learn to "rob the house" at a young age.

Laying stones on the road and "robbing" passing vehicles.

One day, they happened to "rob" Xiang Tenghui's gravel car.

This is to make money from the martial arts club where Tenhui was fooled by his friends and wants to run a fake fight, and over there is the grass team club who temporarily finds someone who can't find someone to find a suitable one, and there happens to be such a group of fierce poor boys.

One side begins with "violent looting", and the other side begins with "ghost master's plot".

On the surface, both sides are unhealthy and dishonest, but under the core life of poverty and cold environment and pure heart, everything is naturally on the right track.

In the first half of the movie, rounding up is the story of "fake bad guys" on the right path of "really good guys".

The common "ordinary utilitarian villain false umbrella" setting, the common desire to promote the first suppression method, but the degree of completion is not low.

From the perspective of character motivation, it makes sense.

The setting of ordinary people who are a little flawed, a little greedy and a little unspeakable about the past is far more real, more intimate and more substitutionary than the "willing to save the world every moment" mode from the beginning.

From the perspective of pain points and landing points, the "middle-aged greasy waste" (no), who is full of mud and self-care, has to take a large group of poor children and rely on martial arts to make a road, which is very tragic, lonely and poignant.

The poverty of the children of Otaki Mountain, the cruelty of the fierce confrontation of martial arts, and the unspeakable bitterness and enthusiasm of children who bind the two together at this age, the film is presented in place.

In a group of children, there is a "pretend fierce base color" to protect everyone's sloppiness, there is Su Mu, who has a farther vision and more well-behaved, and there are small steps that are younger, sweeter, softer and cuter.

The messy side is covered, but the small steps like it very much, and are reluctant to go, "This bed is so soft."

The "softness" of children's starry eyes is poignant.

After starting the "fake fight", under the shadow of the trouble that was exposed, the fuse provoked by the out-of-control situation and other complex inducements, Sloppy and Su Mu fought fiercely, fisted to the flesh, and fought fiercely.

The picture of "fighting black boxing" at such a young age is unbearable.

Second, the loved ones in the world are sleepy, and the cage is like electricity like a dream like thunder

The first time Xiang Tenghui went to Su Mu's house, he was originally looking for his parents to make a claim, and the "bear children" raided the house and designed to frame him, there should always be an explanation.

Before anyone could enter the door, they first saw a shadow flashing in the room.

Before he could speak, Sloppy had already flown up, jumping high and kicking up fiercely.

The two children asked their sister if Wang Badan came to bully you again, and her sister said to send potatoes.

In this paragraph, when my sister and Xiang Tenghui spoke, I always had a very unbearable and heart-wrenching fear.

At that time, my sister said, "I have a doll myself."

I was confused all at once.

Combined with the context, how to look at it is to say that she also has a (self-born) child.

But combined with her age, state, and sloppy brother's angry attitude towards the comer, this is a heinous story of aggression.

The focus of this paragraph only expresses "our family is poor, and there is no money to compensate Sloppy and Su Mu for breaking into trouble", and the part of "why was she killed here" placed by her sister outside the center of communication is silent and unpolished, but still tears blood.

After that, when the three of them soaked their feet, they asked Su Mu what happened to your sister's leg.

Su Mu said that "she gave birth to a baby with a lot of blood".

Before the words fell, Sloppy interrupted with indignation: "When I grow up, no Wang Baeggan will dare to bully my sister anymore."

A few words are sinking.

First of all, many details are strung into the context of tragedy that is overwhelming.

This sentence and the two or three clues mentioned above together form a complete picture of tragedy.

The parents were absent, the eldest sister was pitiful, and the younger brother was once reduced to a "bad boy".

It is a supplementary illustration of the background of "why these children have come to this point" and a silent reflection of the broader and more pervasive tragedy.

Secondly, the character's personality and emotions.

Sloppy people, as their name suggests, impulsive and righteous.

The hand is faster than the mouth and the mouth is faster than the eyes.

This laid the groundwork for his subsequent tragedy (of course, the core point of his wrong path, one is too poor and cornered, and the other is being framed and unfair).

At the same time, this also fully expresses the strong emotions that Sloppy and Su Mu are not a family, but they are better than a family.

Sloppy and Su Mu finally spoke and met through the glass.

When Xiang Tenghui visited Wang Feng, Wang Feng's crow mouthed, "You don't want to look at them through the glass in the future."

The latter is middle-aged people supporting each other and sharing hardships for a while;

The former is a family friend who grew up together, fell into a "carjacking" together, and found food in the sand.

Beat together, sweat together, and grow up hard.

It is a desolate boy who has been crushed into mud, broken inch by inch, and grown up step by step.

There is the desolation and roughness in the depths of the mountains, and there is the persistence and perseverance that burns his own flesh and blood.

At the level of character shaping, the two are one restrained and the other impatient, and their personalities are completely different;

Emotional dimension, Su Mu carries sloppy ideals, carries the grace and righteousness of sloppy imprisonment for him, and carries the dreams of all the children in the village.

What a "hope for the whole village".

Although in the process of watching the film, I always misunderstood that "In the Octagon Cage" would arrange for Su Mu to do his best but still lose, or after exhausting the strength of the first half of the teenager's life and winning a miserable victory, he still had to face a gray life that could not be changed;

But the movie gives a bright ending.

Even gave Xiang Tenghui, Sloppy and others a "beautiful happy happy ending" through subtitles.

I somehow felt that this was a compromise, but despite this, the final battle still poked me very, very much.

It was to see Su Mu win in the cinema and couldn't help but applaud, tears welled up in his eyes.

The young man who crawled out of the mountain has the roughness of dirt and gravel, the tenacity that is silent and stretching like a mountain, and the beautiful and magnificent aura like the bright moon and the clear wind and stars in the mountains.

Third, ambiguous twisting and imbalance

The most important dramatic twist in "In the Octagon Cage" is that Xiang Tenghui is misunderstood.

Those who have been released after serving their sentences have used the Otaki Mountain orphan fighting to earn money and prevent the children from receiving nine years of compulsory education.

Sounds frustrating.

The righteous passers-by, who were surging and angry, knew one or the other, did not know the other, knew its appearance but did not know the inside, and issued rebukes from the point of justice.

The response to this paragraph in the movie is to openly half-provoke and half-truthfully respond to the teenagers who have to pay sky-high liquidated damages for the termination of the contract to rescue the teenagers whose contracts are still in the hands of unscrupulous clubs.

In this paragraph, there is the presentation of a "cheap sense of justice" based on misunderstanding;

There is a slightly lame dramatic reversal of "some of the right words, creating effects, and helping Tenhui save people from unscrupulous clubs".

It is not clear and unreasonable, and the whole look and feel is a little vague and screwed.

(It is necessary to add a lot of qualifications and repeated explanations to find the behavioral logic of explanation, which is essentially out of order)

The degree of media and public participation, depth of understanding, and prying perspectives on hot topics is a complex topic that is too deep, too far-reaching, too common and too changeable.

The film only holds one corner, smashing into the rubble pile in the center of the hurricane in a dragonfly manner, which is slightly unusual.

To some extent, this may be the film's oscillation and loss of focus between the two genres of "deep and vast reality mapping" and "routine modular hot blood film".

Of course, it's just a partial perception.

Most of the time, "In the Octagon" does both, with a mature carrier of similar genre films, and also a power derived from reality.

Although the latter point is so far, but cannot or has no intention of digging into the abyss of more pain, it still has power.

epilogue

The title of "In the Octagon Cage" is very good.

The first layer of "cage" is the objective condition.

For example, Mt. Otaki.

Under the limitations of various paths, the children in Otaki Mountain seem to be born in an invisible but shadowy "octagon cage".

Do the battle of trapped beasts.

The second layer of "cage" is the misunderstandings and dilemmas under the longer chain of a longer perspective.

Although Xiang Tenghui has a ghost in his starting point, he has supported the children all the way since then, and he can really see the sun and the moon.

Under various conditions and selective and incomplete perspectives, it is difficult to distinguish between good and evil.

I thought that it had passed thousands of rivers and mountains, but it turned out to be still in the little trapped beast octagonal cage.

The third layer of "cage" is the heart knot and choice.

Only by fighting hard to scrape through layers of dark clouds, knock through heavy mountains, and walk out of the vast deep forest can there be light.

I like the children of Otaki Mountain in the movie, poor but not cheap, cold but not humble.

Materially deprived, emotionally extraordinarily sincere, there is a fire and light in the heart.