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Speaking of Chen Peisi, most people's impressions still stay on his sketches with Zhu Shimao, and the memory of him is still the fighter who resolutely fought with CCTV for intellectual property rights, and his film works are part of the neglect of everyone.
Comedy has a long history in China, the Chinese nation is a nation that understands comedy, comedy is not only the founding of Chinese films, but also the founding of Chinese drama.
Culture is divided into north and south, and comedy culture is naturally no exception. In the south, Stephen Chow's "nonsense" comedy dominates one side, gaining the popularity of the audience and selling well at the box office; while in the north, the comedy master Chen Peisi, in comparison, has been snubbed too much.
A big battle with CCTV that year caused him and Zhu Shimao to be officially banned, which was undoubtedly fatal to his film creation. When Stephen Chow enjoyed hundreds of millions of dollars of investment and easily sat on the box office champion throne, Chen Peisi was still worried about borrowing money to make films and strive to obtain distribution standards.
Once the main force in official propaganda of mainstream ideas, but now he has faded out of the screen to concentrate on the drama stage, he has never regretted the battle of that year.
This stubbornness, just like the little two in his film "Filial Piety and Virtuous Grandchildren Waiting", "stubborn opinions, dead to the end", the difference is that the little two finally influenced the stubborn mother, and how far Chen Peisi's road will go, no one knows.
Filmed in 1993, the film "Filial Piety and Virtuous Grandchildren Waiting" is in line with the funeral regulations promoted by the state at that time to replace earth burial, advocating cremation.
Generally speaking, such mainstream propaganda films will directly start from the old customs and feudal superstitions such as burial, while Chen Peisi does the opposite, showing the customs of burial in an all-round way, and the transformation of the characters in the play is not from the feudal superstition but from the impact of the funeral itself on people.
The story mainly tells that the mother played by Zhao Lirong wants to be buried after her death, and the son Xiao Er, played by Chen Peisi, is a civil servant of the Red and White Council of the Civil Affairs Bureau, and naturally refuses to be buried in his heart, but he is stuck in his mother's reluctance to express his position. In order to test her son's filial piety, the mother lies in a coffin with a suspended death, testing whether her son will bury himself or cremated.
The uncle played by Wei Zongwan is looking forward to finding a breakthrough from his nephew, and his funeral business will be easy to do in the future, so he instigates his mother to plan a fake death farce.
With the help of the uncle, the mother lay in the coffin and watched everyone from crying to sighing, from arguing to pay to quarreling and leaving, relatives and friends who came to mourn only took a big gulp of meat and drank wine, and the so-called big was also full of hypocrisy, and such funerals could be seen everywhere around us.
Ordinary people think that the red and white happy events are doing a big job because they have face, the most important thing in their lives, and if they compromise on these two things, it is that they have no face.
In the few days when the old lady lay in the coffin, she saw the cold and warm of human feelings clearly, watched her son be embarrassed, watched her brother take advantage of the opportunity to collect money, watched her daughter scatter her family wealth, and the old lady's inner insistence on the beautiful funeral was gradually decreasing.
The jokes that accompany the fake death farce are even more unbearable, such as the factory director came to mourn the green bean cake that brought the old lady's favorite, but was surprised to find that he had one less piece every time he prayed, it turned out that the old lady was so hungry that she couldn't help but steal the green bean cake, which also scared the factory director into a fart.
For example, the three people sat in front of the old lady's spirit to tell ghost stories, and the old lady was so anxious to urinate and twisted around in the coffin, but the three people were scared away by the strange sound made by the coffin.
The old lady's fake death is only known to the uncle and the little grandson, the second child naturally does not know what death is, only when the grandmother is sleeping in the coffin, secretly talking to the grandmother every day, feeding the grandmother to eat, giving the grandmother a urinal, no one notices that something is wrong, but adds countless laughs.
In the end, the old lady was convinced to agree to the cremation, and even forgot that she was suspended to death, and rode to the crematorium in the car of the Civil Affairs Bureau, and Xiao Er reacted after a long time that her mother was suspended, and quickly went to chase, and the story ended abruptly here.
From the beginning of the old lady's fake death, the jokes of the film have not stopped, and one of the most hilarious scenes is that the crowd carries the old lady's coffin to the road, crashes into the wedding convoy, the red and white celebrations meet head-on, the old lady jumps out of the coffin, and the crowd scatters in fright.
Jokes abound in the film, and the wonders of it need to be experienced by the viewers themselves, and in a burst of laughter, the audience's attitude will quietly change, so as to say the same words as the mother, so it is not surprising that it leads to positive advocacy for cremation.
From this point of view, the publicity effect of this film is unattainable by any dry preachy film, and Chen Peisi is truly the forerunner of mainland comedy films.
Text/Pippi Film Editorial Department: Liu Lingli
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