"Godzilla vs King Kong": Guan Gong wants to fight Qin Qiong

Author: Wang Wenjue

How lonely it is to be invincible. When the various powerful images on the screen become too big to fall with round after round of stories, and the tricks of the world are exhausted, the filmmakers also find that some kind of resources are slowly depleted. Superman has beaten the universe, Batman has destroyed Gotham City and rebuilt it N times, and the heroes have collectively stepped into twilight, and it is difficult to have fresh blood.

I don't know who first slapped the aura of the thigh, so that the "hero" from a completely different time and space background cross-universe cooperation win-win, so we saw the "Avengers" and "Justice League" such as the Pinduoduo mode, several battles were fought, more than a dozen or twenty heroes who claimed supremacy in their own series fought in groups, sparks splashed, countless deaths and injuries, and the end of the film was a parting sheng. Similar to the superhero series, the Monsters series has also been shackled by the past. "King Kong" was born in 1933, and King Kong, who was almost 90 years old, could hardly come up with new ideas. The best surprise was the 2005 "King Kong" remake by Jackson, the director of the "Lord of the Rings" series, which was brave and magnificent, sad and deeply affectionate, and the image of King Kong once again hovered between beast and man, primitive and modern, and transformed into a lonely scream. And 2015's "King Kong: Skull Island" has a bland reputation.

What else can be done? King Kong has loved and hated human beings, like the lion king Xie Xun trapped on Ice and Fire Island, a piece of chewed sugar cane. The new story needs new contradictions – it seems that the eager to innovate filmmakers has picked the other end of the contradiction, Godzilla, who is also a super monster. As a standard Japanese animation product, Godzilla's original positioning was derived from the fear of nuclear radiation distortion in World War II, and it was actually quite reluctant to put it together with King Kong. The audience in the age of technology is no longer easy to fool, just to create an atmosphere and provoke trouble, not enough to make people invested. The audience needs to be able to round up the logic, regardless of science fiction magic, to put up their own set of beginnings and ends: where do they come from, why are they fighting, and why are they harmonious? There is no evil in birth, there is no good that comes down from heaven, there is image portrayal and capacity building that comes and goes, which is the object that modern audiences are more willing to dedicate to the box office.

So in Godzilla vs. King Kong, the two Titans belong to the same Ancient Times. At that time, the earth was full of high-frequency radiation, and every creature was savage and huge, and with the decline of surface energy, the giant beasts were nearly extinct. The survivors fled to the center of the earth, a hollow core with a huge source of radiation, no sun, and still bright as day by the strong equivalent rays. King Kong and Godzilla, on the other hand, are titan orphans who have adapted to surface life.

In fact, when the screen image of King Kong first appeared, people rarely explained where it came from and why it was huge, but only shaped the anomaly into a legend, presenting a thrilling thrill. But in the new film, people need to interpret their ins and outs, and all the images with depth of field have a chance to be given more stories and emotions, and King Kong's nostalgia has become vivid and concrete again.

In the new film, the human city is once again attacked by Godzilla, and the military and scientists try to invite King Kong from Skull Island to fight, and sneakily follow it back to the center of the earth, coveting the legendary endless energy. The new geocentric adventure presents an ancient world of dark green and golden, with giant birds soaring, giant beasts passing through, and the prehistoric emptiness and vastness like a psychic. Throughout the story, humans, who originally belonged to the second echelon, could not interject, but everywhere showed the cunning greed of inserting a lever with ambition: secretly approaching the center of the earth, building an underground teleportation network with extensive access, and developing a mechanical Godzilla that combined energy and ruthlessness, enough to challenge the two giant beasts to join forces.

In the face of the fear of "great power" and "mystery", human beings once again armed themselves with technology, but they are once again eaten by their own design, and finally have to tire the two giant beasts from the center of the earth to the city, fighting the mechanical Godzilla to the death. This also shows the principle that the monster series has always pursued - the real flesh of the creature is always spiritual, the cold technology, the direction is not clear, is the future out of control of the big fear.

The process is not a spoiler, in short, from the beginning to the end, it is a visual cool film. The scene of the battle of the giant beasts is like a large-scale battle of the gods on Mount Olympus. The source of "coolness" is probably this kind of mutual strangulation between equivalents that humans cannot reach. The heavenly sea swirled, the earth shook the mountains, human beings always humbly shrunk behind the two great gods and monsters to watch their enemies, the whole universe reverberated with the roar of the beasts, and the collapse and fragmentation of high-rise buildings... When the intensity becomes a shock on the grand level, the fight also gives people the satisfaction of the senses.

At present, the mainland box office of "Godzilla vs King Kong" has gone all the way up, breaking 900 million in 10 days of release. As long as the story of Guan Gongzhan Qin Qiong like this is rounded, the market will still be willing to pay the bill. (Wang Wenjue)

Source: Volkswagen Daily