Chen Kaige is an angry Qing Jia Wenqing in his bones.
When he ran for the general director of the Beijing Olympic Games with Ang Lee and Zhang Yimou, Chen Kaige rose on a whim and sang a poem in public.
When others say that his "Wuji" is a bad film, he replies word by word, and he is not aggrieved at all, after all, how can he say that the reader's business is rotten?
It was also because of "Wuji", Liu Yan, who was still a small host at the time, was frightened for a month because of a question, afraid of offending international directors, and was banned from the circle.
So Chen Kaige's status in the film circle is not high, why does he have the ability to block stars?
If you want to understand this matter, you must first determine another question, does Chen Kaige really only have one "Overlord Farewell"?
There is such a paragraph about "Overlord Farewell", if Chen Kaige finishes filming "Overlord Farewell" and immediately burps, he will be canonized.
It can be seen that the importance of "Farewell to the Overlord" to Chen Kaige and Chinese films, after all, there are too many uniques in "Farewell to the King".
To date, "Farewell to the King" is the first and only Chinese-language film to win the Palme d'Or at Cannes.
"Farewell to the King" is the first Chinese film to win the Golden Globe Award for Best Foreign Language Film, and Zhang Yimou has been nominated five times, setting a record for the highest number in the history of Chinese films, but unfortunately none of them have won.
"Farewell to the King" broke the box office record of Chinese mainland literary film in the United States, and no one has surpassed it at present, and it is also the highest-rated film in the history of Chinese films.
In addition to the twinkles of the bull on the awards, "Farewell to the Overlord" has also achieved elegant and popular appreciation.
There are both "there are two trees in front of my house, one is a date tree, the other is also a date tree", and there is also a custom of "there are two trees in front of my house, both of which are date trees".
The film also covers the Republic of China period, the War of Resistance Against Japan, the War of Liberation, the Ten Years of Turmoil, and the Peace Period, taking the time point as the line and forming a chronicle.
Cheng Dieyi, Duan Xiaolou, Ju Xian, Yuan Shiqing, the four of them made "Farewell to the Overlord" no longer a movie, but a life, a "not crazy devil can not live" human state.
However, "Farewell to the Overlord" made Chen Kaige a crown god, can the influence of this champion continue for decades?
There may be no answer to this question for the time being, but the light of "Farewell to the Overlord" does obscure Chen Kaige's other works.
It is the neglect of them that contributed to the success of "Overlord Farewell", and also gave Chen Kaige the confidence to hold his head high for a lifetime.
When we think of "Farewell to the King", what comes to mind?
The characters are good, the shots are beautiful, the composition is freehand, the artistry is strong, the photography is full of intentions, the picture is full of symbols, the soundtrack is full of spirit, the editing is cross-cutting, and the script is epic.
But we often don't notice that before "Farewell to the Overlord", Chen Kaige's directorial works also include "Yellow Land" and "Child King".
"Yellow Land" has a strong visual impact and cultural symbolism.
With the search for the root as the core, it shows deep anxiety and expectation for the future of the nation, and after finding the root cause of the loss, where should the nation go.
The large area of loess in the film is like the skin of a nation, thousands of ravines are like the wrinkles of an old man, and the naked back facing the loess back is like the backbone of the country.
In "Yellow Land", there is a way of composition that goes beyond the norm, and the characters and cultivating cattle often become a tenacious symbol of the high sky and thick soil.
At that time, chinese films never had such a bold and unconventional way of composition, and through these face paintings with a strong allegorical nature, the film outlined a complex image representing the nation.
Even after "Farewell to the Overlord", Chen Kaige also filmed "Wind Moon" and "Jing Ke Thorn Qin King".
"The Tenth Screening Room" once commented on "Jin Ke Thorn Qin King": ""Jing Ke Thorn Qin King" has a grand and luxurious set and a big scene, but it is not exaggerated.
It is not a gorgeous empty shelf, it respects history and tries to understand history, and it does not lack the personal feelings that should be pursued in artistic creation. ”
The reason why Chen Kaige planned to shoot "Jing Ke Thorn Qin King" at any cost was to show the development of a specific historical period of Chinese culture.
In this way, the historical figures of that era are vividly, artistically, and deeply reproduced on the screen, which is an inspiration for the entire national spirit.
Because he once said in an interview: "Our cultural influence has spread throughout Asia, and I am sad that such a profound cultural tradition is completely lost in our hands, and I feel that I have some kind of cultural mission."
Through his work, Kurosawa shows us a completely different Japan, and in a country like ours, someone should come out and do such a thing. ”
If you continue to follow this path, Chen Kaige's wind evaluation will not be so bad, and his status will be higher.
It's just that after "Wuji", Chen Kaige seems to have changed a person compared with his previous one, and he is madly obsessed with prose and poetry movies.
Empty of gorgeous appearance and rhetoric, it is no longer the fifth generation of directors who have paid attention to nationality and culture in the 1980s and 1990s, and have completely lost their original ideas and heights.
Mr. Lu Xun's prose is not a simple literary genre, but an implicit needle in society.
If Lu Xun's prose came to the current Chen Kai singer, what would "Young Leap Earth" become.
The original text of "Young LeapIng Earth" is that there is a golden full moon hanging in the deep blue sky, and the sandy ground by the sea below, all planted with endless turquoise watermelons.
In the middle of it was a boy of eleven or twelve, with a silver ring on his neck and a steel fork in his hand, and stabbed as hard as he could at a horse. Naru twisted his body and fled from his crotch. This young man is the leaping earth.
Under the guidance of Chen Kaige's adaptation of the script, Yan Tu is no longer Lu Xun's childhood partner, but a dancing teenager full of love and hatred.
A full moon hung in the sky, and the bright moonlight sprinkled on the ground, gently stepping on it, the moonlight like watery maiden, shyly curled up.
With a silver ring in his hand, his hand holding the leaping earth of the steel fork, and the marks on his face that had just been slapped by Cai Dong, he struggled to insert the steel fork into the watermelon field and ran forward.
A horse gently walked up to the leaping earth and snuggled up to his feet, and the leap earth picked it up and spat out a human tongue, revealing the earth-shattering secret of the rise and fall of the dynasty spanning thirty years.
As various characters appear one by one, the scenes of prosperity and splendor of the Qing Dynasty and the hidden pains of the times are unveiled one by one, presenting a picture of Shunzhi shaving that is intertwined with monsters, poets, emperors, and noble concubines.
This is Chen Kaige, as a big director, he does not like small and beautiful, only pursues big and mysterious, beautiful and beautiful.
It cost hundreds of millions of dollars to build a royal palace, so beautiful that he always wanted to let the crane fly over the picture, and "The Legend of the Demon Cat" and "Daylight Meteor" both touched his hobby.
However, Chen Kaige's prose poetry skills still stay in the era of words, completely forgetting that the main audience of the image era is young people.
He also used the values of the previous generation to coerce today's young people, which shows that Chen Kaige can no longer keep up with this era.
The old tradition of big parents saying one thing has long since become the dust of history.
But Chen Kaige was like a declining nobleman, the braids on his head were cut, and the braids in his heart were always there.
Remembering the caged birds in Yanliu Flower Lane, remembering the "grandfather" in the Four-Nine Cities, clinging to the old rules and refusing to return to the new era.
In the final analysis, it is still for two words, love face, blind and exquisite.
The emperor is gone, and he still wants to make people kneel, looking forward to being a new nobleman, which is the private goods that Chen Kaige's films often carry, teasing the changing days of the times and depriving the nobles of the soil for the survival of this class.
Therefore, Chen Kaige's problem has never been a lack of talent, but the old man and can't put it down, always feeling that the people in the lower riba are humiliating, and yangchun baixue is the senior.
But today is not the same as in the past.
His current seniority can't do the kind of "there are two trees in front of my house, one is a jujube tree, and the other is also a jujube tree" ya.
Therefore, he was stuck in the middle of the mountainside, looking at the "Overlord Farewell" at the top of the mountain, liking the "Wuji" at the foot of the mountain, and walking downhill, which is Chen Kaige's blindness.
Chen Kaige's love of face is to be a good teacher.
Unwilling to admit the excellence of others, unwilling to face their own shortcomings, and at the same time do not want to lose the supremacy of the stars and the moon.
Therefore, being a good teacher has become the main way for Chen Kaige to maintain his status, appearing as an elder, emphasizing the seniority between words, which is a symbol of old age, but Chen Kaige is unwilling to admit it.
In fact, it is not shameful to keep up with the times, and what is shameful is self-righteousness and arrogance.
Chen Kaige had looked at the vast sky all his life, and in the end he had become a frog at the bottom of the well, what was the use of such a high status.
The reputation and fame that I worked hard in the first half of my life were ruined in the hypocrisy and vanity of the second half of my life, and the arrogance of the literati was just a disguise for the façade, and what I looked like under the mask, you know, everyone knows.