The publicity and distribution of "The World of Grass and Trees" is the same as the content of the movie, it has nothing to do with it, and each has its own responsibility.
Just like the director's proud landscape language, Gu Xiaogang does have two brushes in audio-visual, the opening unfolds like a picture scroll, and the ending closes like a picture scroll.
There is the style of Kenji Mizoguchi's beautiful film aesthetics between the clouds and clouds, but Gu Xiaogang has localized and integrated love and scenery into China's landscapes, and landscape movies have landscape feelings.
But this kind of love is very incompatible with the movie, the story and the audio-visual are completely separated, and they are separated.
Unlike Kenji Mizoguchi, the opening and closing of the scroll is for the characters, and the psychology, motivation, and behavior of the characters can be seen from the composition, lighting, and photography.
And what about "The World of Grass and Trees"? The scenery is beautiful, the picture is regular, but there is no lyricism in the scene, and there is no emotional expression in the audio-visual, just a simple scene.
Gu Xiaogang didn't have the ability of Chen Kaige and Zhang Yimou, but he got their "disease" and wanted to create a landscape film language that belonged to Chinese films, but it became a castle in the air.
For example, in "Yellow Earth", the compositions that break the convention and make the horizon not at the golden section point highlight the question of man about heaven and earth, asking the emperor and the queen of heaven and earth, where are the roots, and where is the future.
On the other hand, in "The World of Grass and Trees", the beautiful towers, beautiful mountains and water, and hazy pictures have no such function, only landscapes, no language, if you shave off the story and only look at the landscape, it is a good realistic documentary, but this is a movie.
The landscape is very vain, but what about the story? It's not as good as it, it's all slogans, there is no foundation, and it's empty and boring.
The story comes from Mu Lian's rescue of her mother, the director designed a pyramid scheme to analogy with hell, the mother fell into greed and hatred, and eventually became a hungry ghost in the fight with the hungry ghost, and fell into the devil of the pyramid scheme, unable to return to reality.
Under the redemption of his son, he finally became sober, just like people falling into the world like grass and trees, clearing turbidity and driving away pollution, driving away tigers, and purifying the soul in nature.
But I put together too many things, but instead the imagery and Zen are nothing.
The purpose of teaching people to refuse pyramid schemes has not been achieved, it is all babbling, hysterical, like a low-level horror movie, and only knows endless jump scare.
I thought it could play a certain warning role in emotional promotion like "All or Nothing", but I didn't expect it to become a stage play of performance art, and it didn't even have emotional value.
Jiang Qinqin's disorientation and awakening are like a tornado, coming too fast, almost no foreshadowing, although it is for Mu Lian to save her mother, but it is not Mu Lian who destroys the pyramid scheme, but their internal self-explosion.
The mother's awakening at the end of the film is not due to her son's persuasion, but because her son carried her to the mountain, she saw herself in the sky, and the hungry tiger in her heart disappeared, and then it was normal.
Chen Jianbin is a tool like Wu Lei, and it doesn't even matter if he deletes the role of Chen Jianbin .
It's nothing more than to turn Mother Qian away from Wu Moshua into Jin Lan and persuade Wu Moshua to join the pyramid scheme to sell enough stickers, anyway, the result is the same, and the process has become a little smoother.
But now, it's not high or low, it's not enough, it's a drama, the text is sparse, the rhythm is worrying, it's an emotional film, it can't stir up the slightest ripple, it's boring, and watching the movie is really like sitting on pins and needles.
said that it is a literary film, the whole article has two paragraphs of Wu Lei's confession before and after, plus the picture of the landscape still has a bit of a literary tone, and a large section in the middle has nothing to do with literature and art, the tone is light and dark, and the sudden change in color performance is also full of a sense of division, like a four dislike that has been forcibly put together.
Maybe the director's ideal is not to shoot pyramid schemes, the drunkard's intention is not to drink, but to care about the landscape.
Mulian is only the carrier, a lifetime, a spring of grass and trees, coming like wind and rain, and going like a fine dust is the real theme.
Did the director sublimate this otherworldly thought? If you think about it carefully, you can see a point, but it is also beyond your strength, and you think very well, but your ability is limited and you can't fall to the ground.
In other words, "The World of Grass and Trees" is a bit of a beautiful skin, thinking that I said a few words of life motto, with a landscape map, and a literary font is to penetrate the world, but I don't know that this is an unconscious self-touch.
is like the companion group in KTV, he is really good-looking, and his figure is also good, after listening to "Dispel Sorrow", the circle of friends posted a sentence "A cup of respect for the rising sun, a cup of respect for the moonlight" as if he had read a lot of books, but in fact, he opened his mouth to be a brother, touch a cup.
This kind of Chinese director who uses mountains and rivers to convey artistic conception is not uncommon, and Hu Jinquan is one.
He told a number of Zen short stories in "Empty Mountain and Spiritual Rain", and then connected them with "Mahayana Theory of Belief" as the main line, supplemented by walking, landscape and light and smoke, borrowing scenes to express lyricism and blend scenes.
After watching a movie, seeing greed, hatred, ignorance and emptiness and tranquility, even if you are not a well-versed person, it is difficult to be wise and virtuous, but the end of the story can still inspire people, and the sutra box of "Mahayana Theory of Initiation and Belief" that everyone is competing for is actually empty, and all have karma.
In the end, in order to eliminate the trouble, the "exile" Qiu Ming burned the scriptures, and gave the text of the "Mahayana Theory of Belief" that the master had already printed dozens of copies to others, and then shaved and chanted, the camera zoomed out, the monks sat cross-legged, and the sound of "Amitabha Buddha" sounded, and the picture turned from the earth to the sky, completing the rebirth.
This is Hu Jinquan's solution, the scene, the meaning, and the story are one, and Gu Xiaogang is divided.
Just like the title of the film, the tea was dismantled into a world of plants and trees, developed independently, but failed to put it together, making this cup of tea unpalatable.