[The soul on the leather rope] can be made into a clear genre film, but the artistic treatment, deviating from the audience's overhead shot, makes the perception sometimes uncomfortable.
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Happy vengeance under the magic of the East
It is undeniable that [the soul on the leather rope] allows us to see the characteristics that are completely different from the Chinese genre films, it has a clear look and feel, the technique is strange, coupled with the intervention of Tibetan religion, it is extremely curious.
Speaking of [Soul on a Leather Rope], we have to mention [Kailash], the two films are shot in turn in between, the difference is that the expression methods are far apart.
Both films deal with Buddhism, the idea of reincarnation in the world.
[Kailash] seems to be a documentary, but in fact it is full of dramatic conflicts in drama films, and the combination of the two is just right.
But in [Soul on the Rope], the film begins with a looking down on the camera, as if a miracle is revealed, and the experimental sound design makes people think that this will be an authentic art film.
But as soon as the camera turns, it becomes a genre film mode of revenge and treasure hunting.
This attempt is good, but it will inevitably lead to visual fatigue.
[Soul on the Leash] is adapted from a magical realist novel, and this magical style really takes the film to new heights.
This film tells the story of the hunter Tabein, who is too murderous and has deep sins, and after he is resurrected from the dead, he is ordered by the living Buddha, given the Heavenly Dzi Holy Relic, and takes this holy relic to the lotus master's palm tattoo, along the way he encounters various demons and desires.
Interestingly, at the end of the film, the director points out that In fact, The Gerdan who has been hunting down Andbe is a writer, Tabe is his male protagonist, and Gerdan's pursuit of him is also a journey to pursue himself.
This initiation at the end does elevate the height of the film, both in the structure of the play-within-a-play and in the changes in the characters' self-identity, which is both ingenious and novel.
Of course, Zhang Yang's ambition is not limited to this, on the basis of the original work, he has made greater changes, mainly in the introduction of a type of commercial atmosphere.
[Soul on the Leather Rope] is quite Western-style, and some passages make people smell Leone.
In particular, the bridge section where several parties in the tavern face off, and the windy hostess, like an Italian macaroni western.
And those pictures of sharpening knives are more full of martial arts film temperament;
The addition of the male and female protagonists' love scenes also added fun to the movie;
The traditional revenge film model is more old-fashioned, but this point just caters to the religious theme of this film, which is related to the cycle of reincarnation, cause and effect, and the religious concept of doing good and accumulating good.
This design adds to the qualities it gives to oriental magic myths;
In addition, there is also an interesting character in the movie, that is, the little boy "Pu" wearing a mask.
He has a psychic spirit, which makes me think off-topic to Assayas's [private buyer], who explores personal desires and self-knowledge through psychic mediators, and has a Western religious connotation.
Both films have a vague, vague, ambiguous, and lost concept. In [Soul on the Leather Rope], Zhang Yang also made this sense of nothingness.
The introduction of genre also includes the treasure hunt, where various people and horses hunt down Tabe only to find the Dzi, which is also a major attraction of this film. It can be said that Zhang Yang intends to improve the viewing of the movie.
But the combination of artistry and commercialism is not perfect in the film, who wants to hear the chanting soundtrack of the gods while watching the treasure hunt.
This kind of approach that deviates from the audience and pursues the artistic realm may be difficult to coordinate the temperament of the film.
This huge distance greatly increases the difficulty of watching the movie, and the audience can only sleep, which is the biggest obstacle to watching the film.
Despite such a problem [of the soul on the leash], we cannot deny its value.
Especially in the stage of rapid rise of Chinese films, when box office revenue is soaring, a lot of commercial potential is becoming more and more obvious, so in this case [the soul on the leather rope] becomes a clear stream.
It expands the form of Chinese genre films, while it is rooted in the ancient oriental rhyme culture, and its emergence allows the audience to see a new hope for Chinese films.