Baahubali 2: The End recently approached the Chinese film market and once again wowed us.
Of course, the best way to watch it is to watch the first one with the second one, because there is no film as strange as the Indian film, which is manifested in the cross-cutting relationship between "Baahubali King 2" and "Baahubali King 1", and the two films are not developed in linear chronological order, which means that the time in "Baahubali 1" and "Baahubali 2" is staggered, and if you have not seen "Baahubali 1", it is really not connected to the plot content in "Baahubali 2".
Although the two episodes of "Baahubali" are five hours long, the plot is not complicated, and like the usual Indian movies, although it is more than two hours long, the content is relatively single.
The "Baahubali" series feels like a shock, but in contrast, none of the same Costume Films in China can be compared.
Of course, "Baahubali" is not perfect, as a court film, the film does have some simplicity in the performance of the "palace scheming" that is very good at Chinese films and television, and there is a structural problem, and the film is not set well.
In "Baahubali 1", the son of "Baahubali" meets a girl after he grows up, and then, inspired by the girl's tribe, goes to rescue his mother, thus opening the historical traces of how his father was framed, at this time, the film officially enters the story line of his father "Baahubali King".
The second part continues the unfinished main plot of the previous part, continuing to tell the story of the father, until the father is killed, the film memory ends, and the story of the son in the first part continues again, developing downwards, and the ending is naturally a revenge success.
It can be said that the division of the first and second parts has a little taste of "twisted melon", breaking a complete story into two pieces, such a division is too overbearing.
When expressing the characters, it can also be seen that in some places, taking care of one and ignoring the other, the development process of the character's personality has not been fully taken care of, and the characters lack the proper response in specific situations. For example, when the king of Baahubali came to the country of Princess Devahina, the empress dowager sent an army to kill the general, and in the face of the influx of soldiers, Baahubali stood in the position of the beloved girl and fought a deadly battle with the army of his own country. The film shows Baahubali killing very happily, which does not reflect the pain and hesitation of his brothers in killing his own country, and later Baahubali returned to his country with the princess, and did not suffer from this accusation of killing his own compatriots, and the people in the film instead regarded him as a savior, which can be seen that the film does not set up a more layered psychological reaction in Baahubali in the overall layout.
This makes the character portrayal in this movie relatively simple, and the image of the character is relatively single.
But this is precisely the strength of Indian cinema, that is, under a procedural framework, the personality of a character is fully presented, and it is not as good as others, but it constitutes the unique moving place of Indian cinema.
When Chinese directors shoot costume films, they have a sense of mission not to give up without pursuing a little depth, and the costume films are not different and annoying. China's three major directors Zhang Yimou, Chen Kaige and Feng Xiaogang have all had the experience of shooting costume films, but in their "Golden Armor in the City", "Wuji" and "Night Feast", all of them want to express a little deep connotation, trying to show the darkness, darkness and ugliness of the depths of human nature, and finally being spurned.
"Baahubali King" is also somewhat reminiscent of Zhang Yimou's "The Great Wall", in fact, the themes of the two films still have some similarities.
In "The King of Baahubali", Baahubali once led an army to block the enemy's attack, which is very similar to the plot of "The Great Wall" to resist the monster's gluttony, but the two movies are compared and judged. "Baahubali" calmly explains the battle against the enemy, and the battle scene is clear and clear, while the excessive dance-style showmanship in "The Great Wall" makes the fighters in the film laugh. What is particularly incredible is that the hope of defending the city in "The Great Wall" is pinned on the foreigners who appear as mercenaries, which is the same as the hope of protecting women in "Jinling Thirteen Chao" on foreigners.
At least in "Baahubali King", we see that in the case of the enemy army besieging three thousand weights, it shows the hero of the country itself, and in this regard, the intention of "Baahubali King" did give Zhang Yimou a teacher. Similarly, the film's battle scenes can be so thrilling but beautiful, and it also gives a new idea of how the film can represent violent scenes.
This reflects that Indian cinema has formed a common creative path, which is that Indian cinema has always interpreted film as a kind of virtual existence, including "WrestleMania!" Daddy," "Mysterious Superstar," "Little Lori's Monkey God Uncle" and the recently screened "Starting Line," in fact, we find that there is a rule that the performance of the characters in the film is not a true reproduction under normal circumstances, but is completely an artistic existence controlled by the choreographer, which constitutes a kind of difference in Indian cinema. The reason why Indian movies put characters in a virtual state for interpretation is because there is a stubborn interference in Indian movies that is completely virtual song and dance scenes, and it is precisely these seemingly song and dance interludes that in turn lead to the normal narrative part, which is also affected by virtualization.
Like Wrestlemania! "Daddy" looks like a reality film, but the father's bearded and staring expression in the film has a certain exaggeration, which completely creates a virtual life situation; the monkey god uncle in "Little Lori's Monkey God Uncle" is also a character of a tendon, with his stubbornness, according to his own ideas, one mind to go down, completely disregarding the interference and influence in reality. This is related to WrestleMania! The father figure in "Daddy" has almost the same background motive. That is to say, Indian films try their best to create a strand of thinking on the characters, and collide this thinking with reality, thus constituting the main plot line of the film.
This kind of one-by-one thinking is imposed on the characters, and the result is that the characters are all unbelievably attached to their own ideals, regardless of whether there are conditions in reality or not, and they all adhere to their own dream path. WrestleMania! In "Daddy", the father stubbornly stuck to his dream and finally succeeded; the monkey god uncle in "Little Lori's Monkey God Uncle" made a mistake and finally sent the little girl back to his country, and his consequence was to almost cause a dispute between the two countries; the girl in "Mysterious Superstar" clung to her dream of singing, and finally made a blockbuster, and the dream came true.
What is the tendon of the characters in Baahubali? We must see that "Baahubali" is not a political drama, nor is it a conspiracy film, it is like the indian films that caused a sensation in China and stirred up tears, it is an emotional film, and in detail, it can be said that it is a romance film.
Therefore, a tendon in this film is positioned on love. King Baahubali lacked interest in the throne, and when love was in his presence, he preferred to choose love over the world. According to this theme, the film reasonably describes the entire efforts of King Baahubali, and the omission of the film is precisely the poor care for the position of historical figures.
In this way, "Baahubali King" strives to render the supremacy of love in character selection, and thus creates the spiritual support for the heroic feats of Baahubali King, as for what conspiracy and scheming behind it, it is really not what the film considers.
Under the action of the theme of "one tendon" of love, "Baahubali King" seems to interpret a human emotion that is the most undisturbed in the usual sense, although compared with the dizzying and intrigue clues in Chinese costume films, there is a little too little depth and technical content, but the result of this is exactly in line with the purpose that Indian cinema wants to achieve to make the audience physically and mentally accessible. In fact, the Indian movies that can make us move and cry are precisely not to challenge people's emotions, but to conform to the common feelings of human beings, and use the most ordinary people's family affection elements to create a story wave of inheritance and transition.
"Baahubali King" uses the most common three tricks we mentioned above, which makes Chinese movies unattainable. These three tricks, I still summarize again:
1, the use of virtuality to show the persistence of life does not necessarily exist, this kind of virtuality is related to the foundation of the song and dance films lurking in Indian movies, Chinese movies may not be learned, but can you not fake the truth? You see in Chinese movies, as soon as men and women are together, they take off each other's clothes, which is a kind of truth, but can it be said to be beautiful? Can you show a warm-hearted love romance in the camera? It is indeed necessary to learn from Indian cinema.
2, the battle scenes in the film, but also through the film virtualization, when it comes to the hand-to-hand, the film lens will slow down, and then see the dance-like fighting action, and the battle in the Chinese costume film, are pursuing a kind of false reality, but nothing can be seen clearly. In "Baahubali King", we see the arrow array, siege, city destruction, etc., Zhang Yimou has used in the film, but it has not sublimated into an imposing beauty, because Chinese films pay too much attention to a kind of reality, lack of virtual filtering in Indian movies, "Baahubali King" This movie, its action shows that it does not want to be real, it is an artistic deduction-style virtual scene. Chinese movies use big scenes, but they feel that the momentum is very small.
3, Indian cinema has always reflected the most common emotions of people, even if the court film "Baahubali King", its theme, is also the most commonly seen love theme, and is a good love story, no one has ever betrayed this emotion, questioned this emotion. Indian movies pay great attention to family relations, the characters live in the force field of a family, and define the inner conflicts of the characters with family relations, so that the emotional world interpreted can penetrate the world, overlook life, and trigger the emotional resonance of the audience. Look at the Chinese films, which film can make a profound and touching interpretation of the kinship between the two generations? The theme of showing love pushes the parents of young people into the depths of invisible backgrounds. For example, the recent "Later Us", in order to reduce trouble, the mother of the male number one was dealt with abroad, and the parents of the female number one were directly disposed of, only the male and female number one were free and free, doing whatever they wanted, which seemed to be very convenient to narrate, but it deviated from the dimension of the family that Chinese could not be or lacked.
A series of Indian movies make us continue to impress, and even sometimes think, is the Indian film emotional intelligence a little higher? After watching a film like "Baahubali King", we will have a sense of despair about Chinese films, bow our heads and think, how many Chinese directors can we make similar films? Almost none of them can be pulled out. I deeply feel that Chinese directors really lack such talents.
So, finally, let's make a joke, in history, we have the feat of going to Tianzhu to learn the scriptures, and today, Chinese films should also follow in the footsteps of Master Tang Sanzang and go to India to learn the logic, ideas and techniques of filmmaking, which may be beneficial to changing the inferior status quo of Chinese films.