The Feng Shen List has been filmed so many times, and the top version has finally been born, and this adaptation skill has to be served
Finally able to write.
A few days ago, after watching the point screening, Sir held his stomach and wanted to say.
The heaviest one in the summer, released yesterday:
The first part of Fengshen
It can be clearly said:
This is the most ambitious adaptation of "Fengshen List".
It is also the best domestic magic/fantasy theme at present.
Douban 7.7.
The score was opened on the day of the release, and it can be seen that it is the bottom of the movie.
And in Sir's heart.
The score for "Fengsheng" is even higher.
Why?
There are three areas that can be expanded.
01
make
This is most obvious.
Sir won't say much.
A few simple feelings:
The opening iron-blooded war scene.
The first half of the grand enthronement ceremony of King Shuo.
The last gluttonous chase scene, and even the epic sound effect bonus when Ji Fa returned home...
The grandeur and grandeur presented on the IMAX level big screen is definitely not comparable to the budget-limited production of the previous "Fengsheng" series.
It's already shown in the behind-the-scenes special.
The delicate ornamentation set in the Longde Hall, the hand-woven performance costumes wearing real jade used throughout the whole process of the actors, and the war horses specially trained for war scenes and the tendon meat that young actors spent most of the year training...
But.
If only to say that it invests high, piles up special effects.
What does it sound different from most of the previous "bad movies"?
So let's quickly move on to the second part:
02
imagine
One question:
Can you summarize the characteristics of the era background of the previous "God Sealing List"?
The 1990 version of "List of Gods" is full of Greek style, and the TVB version of the service road seems to be established by any dynasty.
Sir does not deny that both editions have classics and are also childhood memories for many people.
However, due to cognition or funding, there is no ability to restore the historical background.
What was the Shang Dynasty like?
Not to mention that domestic film and television dramas are rarely presented, even the original work "Romance of the Gods" (written in Longqing and Wanli years) is only the author's imagination of the Shang Dynasty from the Ming Dynasty.
And with the discovery of contemporary archaeology, we actually know more today than the ancients.
Urshan's "Fengsheng".
It is the most in-depth and detailed presentation of the ancient legends of the Shang Dynasty as the background of the era on the screen.
Let's start with a clue character, Bigan.
Possess seven tricks.
Yin Shang's loyal courtiers, because of his advice, angered King Shun and were finally killed by Xinxin.
The seven secrets of the heart show that he is brilliant; The heart is as delicate as it is, which shows that he is of high moral character.
But it also doomed him to tragedy:
The wiser and more thoughtful, the more painful the heart may be. (Cao Xueqin also described Lin Daiyu as "more hearty than dry")
The higher Jie and Geng Jie, the easier it is to be slandered by rumors.
Later generations mostly regarded Bigan as a typical representative of loyal ministers.
This version of "Fengsheng" gave Bi Gan one more identity:
Yin Shang Daji ordered.
Good divination, palm sacrifice.
The reason for his exhortation was to predict that Yin Shang would lose his destiny.
At the enthronement ceremony of the King of Shang, Bi Gan used tortoise shell divination to ask the heavens about Yin Shang's national fortune, and the tortoise shell shattered.
And the human sacrifice mentioned in his dialogue with the Shang King, a hundred sacrifices, a thousand sacrifices, ten thousand sacrifices...
It can be seen that the Shang Dynasty at that time believed in ghosts and gods, respected religion, including enthusiasm for conquest.
Compared with the previous adaptation of "Fengsheng", this may be closer to the truth:
From the remains of Yin Shang from modern archaeological excavations, a large number of human sacrifices and human martyrs have been found.
A detail.
In the opening Su Hu rebellion, Yin Shou led troops to fight and successfully beheaded him.
And this first rank not only appeared in the military tent of Daji Enchanting Yin Shou, but also became the human head wine cup in the hands of King Shang in the back.
Make people's heads into wine glasses, and then think of killing Bo Yi Kao to eat meat later, forcing him to dig his heart.
As well as the Shang Dynasty's cannon burning, Yu basin and various tortures.
That's quite a cult.
The Shang Dynasty is actually very different from the "ancient" we know.
It is ancient that is unimaginable today.
When Sir recalled the enthronement ceremony in the movie and the altar built behind.
What comes to mind is Mel Gibson's masterpiece "Revelation" is a bold imagination of the lost Mayan civilization.
There is a similar raw, savagery.
Another interesting detail:
Elephant.
Jiang Ziya, Nezha, and Yang Jian entered Chaoga City, and a group of people were building the project, among which Xunxiang was dragging wood.
Did elephants appear just to add to the big scene?
In fact, this is also an important symbol of the times.
In ancient times, the Central Plains was distributed with elephant herds.
"Lü's Spring and Autumn" recorded: "Merchants dressed in elephants to abuse Dongyi. ”
However, due to climate change and human slash-and-burn cultivation, elephants retreated all the way south, and now only a small number remain in the southwestern frontier.
When the elephant disappears.
Future generations can only imagine the appearance of elephants through the surviving elephant bones and the descriptions of predecessors, which is the origin of the word "imagination".
Interestingly.
"Fengsheng" is such an imagination.
03
revolution
The story of "Romance of the Gods", almost every Chinese has heard, has long been preconceived.
What is it that looks at Fengsheng?
Of course, it is to look at the king and Daji, desolate and unscrupulous, wine pond meat forest, cruelty to loyalty, calamity to the country and the people;
It also saw that in the war of felling merchants, the immortal sorcerers of Xiqi and Yin Shang flew into the sky and fought each other;
Look at Jiang Ziya to assist King Zhou in defeating Shang Lin, Kuang Fu's ancient literati Wang Dao Shuangwen narrative.
Who is the protagonist of the story of Fengshen Chen?
Some people will say King Jun, others will say Jiang Ziya, Nezha, Yang Jian...
This time in "Feng Shen", before watching the movie, Sir thought that the protagonist of the story would be Yin Shou played by Fei Xiang, or Jiang Ziya played by Huang Bo.
Good and evil are facing off.
But after watching the movie, I found out:
This time, the protagonist is Ji Fa, the son of Xibo Hou Ji Chang.
And compared with the past adaptations, Ji Fa is blurred as an anti-business banner, or Ji Fa is portrayed as a romance male protagonist too vulgar.
"Fengshen " is almost the entire story told entirely from Ji Fa's perspective.
The story of a young hero growing up.
At first, he was a proton in Chaoga and recognized King Shun as his father.
At the beginning of the movie, we see not a dull and incompetent king (who has not yet turned positive at this time).
But a big hero of leadership max.
Tall, brave in battle, wise and brave, leading the way...
This also infected the young Ji Fa:
He wants to be a person like Yin Shou and become a hero.
Therefore.
When Yin Shou became King of Shang, he firmly supported it.
When the king of Shang favored him and had conflicts with the queen and the crown prince Yin Jiao, he chose to make up for the king of Shang.
When King Shang wanted to seal the God List and did not hesitate to kill innocents, he still had to hunt down Jiang Ziya to win the list.
Even:
He reported his biological father Ji Chang to King Jun.
But did he become a hero?
And it didn't.
The "country" he defended, and his original home, fell into the darkest moment:
Yin Shang's loyal courtier Bi Gan was forced to dig his heart, and his friend Yin Jiao, who was also the crown prince, faced beheading.
His brother Bo Yi Kao was made into a meatloaf by King Jun, and let his father Ji Chang eat it...
In the past, the "List of Gods" was about defeating injustice with justice, and conquering heaven by the destiny of heaven.
But Urshan's "Fengsheng" does not repeat this simple black-and-white duality. (You must know that the appearance of King Jun is a positive image)
This revolution is happening deep in the hearts of young people.
Who should you believe?
Who is the ultimate authority?
When the faith you have been implanted since childhood reveals flaws, do you dare to debunk it with your own hands?
This is what Ji Chang said to him in the trailer:
"It doesn't matter who your son is, it matters who you are."
The director mentioned in the interview that one of his most proud scenes was the scene in Longde Hall where the four uncles rebelled and forced the sons of the uncles to kill their fathers.
That's right.
This is also the scene that Sir remembers the most.
There is indeed a sense of suffocation of "revolution in the depths of the soul", and the dizziness that all order is toppling.
Some people may say that this is not a typical "father-killer" routine in Western mythology.
But whoever says "Father" is not a core concept of the East.
In Sir's opinion, one of the big breakthroughs of Urshan's "Feng Shen" lies in this.
In the past battle of sealing gods, in the final analysis, who defeated whom?
Most are preaching that there is much help for the righteous, but little help for the unrighteous.
And "Fengsheng" rarely filmed the result of this war:
One civilization replaces another.
From Shang to Zhou, it is not as simple as changing dynasties.
In addition to differences in etiquette, utensils, habits, and customs.
The biggest difference is the values.
The director specifically mentioned a word, cultural logic, in the special feature of Service Dao.
It's everywhere in the movie:
The palace is full of gorgeous decorative shapes, the religious and witch culture presented at the enthronement ceremony, and the extremely martial atmosphere of the people, including but not limited to the interpretation of war dances in the main hall, and the use of enemy heads to make wine vessels.
On the Shang King Yin Shou, it is also extremely obvious:
If you want to fight, you will personally wear armor and become a hero.
If you want to seize power, let Daji possess him and directly arrange the assassination in the hall.
To eliminate the heavenly punishment, he ordered the enslavement of all peoples to cultivate the heavenly platform.
If you want to live forever, you will kill innocents on the spot, and you will chase after the lost god list, and even destroy the temple and altar, and have no respect for the ancestor sacrifice.
In the past, when talking about the extravagance of the king of Jun, the first thing that came to mind was the wine pond meat forest.
But what is the essence of extravagance?
It's unrestrained.
In addition to the unrestrained wine, it is also the unbridled use of violence and the desire for unlimited expansion of power.
The film made this design:
Xiqi's painting style is almost the opposite of Yin Shang.
Yin Shang is gorgeous, Xiqi is quaint.
The people of Chaoga live trembling, and the road is eye-catching; Father Xiqi is grateful and in the same boat through thick and thin.
Not to mention that the Shang family father and son cannibalized, and the Xiqi royal family father and son filial piety.
One detail, weapons.
The weapons that Ji Fa and Bo Yi Kao used well were all bows, and what were the weapons used by Yin Shang warriors?
It's a sword, it's an axe, more direct and sharper.
These bronze weapons, which belonged to the "black technology" of that time, were monopolized by power.
Chongying Biao, who killed his father and completely converted to King Shang, used a sword, and Yin Jiao, who gradually turned away from his father and chose to resist, lost his sword first when he fled.
The usurpation of power by the king was not sustainable.
The hearts of the people are closer to the patriarchal law.
The king's excessive violence caused a backlash.
A concept of "benevolence" began to emerge.
The ancient Shang Dynasty passed away, and the Zhou Dynasty, which opened our traditional concepts, is coming.
So "Fengshen " said it like never before.
This is not just a story of good triumphing over evil, and heroes growing up through hardships and finally triumphing.
It is also the triumph of one value over another, from cruelty to benevolence, from ignorance to civilization, from poverty and extreme desire to gentleness and thrift...
This is where creators are most ambitious:
The so-called process of canonizing gods is the process of constructing the traditional culture we are familiar with.
This is neither the "father-killer" of Western mythology.
It is not simply "recognizing the father", but re-observing the source of these cultures from today's perspective.
We mainly write about "Heavenly Dao Human Ethics", Ji Fa bears the human ethical order, Jiang Ziya bears the Heavenly Dao, and these two together are the most important things in Chinese culture.
Of course.
The "Fengshen " we see so far is not all, just a prelude.
The scene of gods and demons fighting against immortals that many audiences are looking forward to has not yet had time to appear.
And the rhythm of the film is too fast, which will also make the audience notice some small flaws.
But for "Fengsheng".
The ambition of domestic filmmakers, the ambition to be an epic of oriental mythology, and the contribution to the industrialization of film should not be easily ignored.
Especially at a time when the magic theme is at a low ebb.
At the moment when "The Lord of the Rings 1" is re-screened, it will also attract one-star bad comments such as "verbose", "shoddy" and "no follow-up"...
The release of "Feng Shen" is obviously unpleasant.
It does not have the social hot spots that stir up emotions the most.
Epic films like "Fengshen " are too "classical" for today due to the long production cycle.
But also for this reason, Sir appreciates "Fengshen more".
It's still not perfect, though.
But because of it.
We also have the confidence to say that domestic mythological epics, this is the line.
This kind of determination to know that it is a dangerous road, knowing that countless challengers have fallen off the cliff ahead, but still forging ahead and climbing to the top.
One step ahead of the story on the screen tells us:
What is the most exciting power of the epic?
The picture of this article comes from the Internet
Editorial assistant: Gilmour's gyro