Author: He Jingting
With the previous hit "Wolf Warrior 2", the British director Nolan's "Dunkirk" once again tore apart the pastoral fans and pastoral fans of the Heavenly Dynasty.
The film was released for two weeks, basically from the early director Nolan's die-hard fans wept "war reflection", "human brilliance" and "kneeling to watch", to some people dug out the "retreating general Alexander" pit French allies pit Chinese expeditionary force allies and caused boycotts to watch the film, and then to the quasi-official media and purely private @ Rainbow Kursk and other self-media issued a fair voice of "whether it is fans or military fans should look", and the war of words over the superiority and inferiority of "Dunkirk" has been repeated several rounds.
Nolan's "Dunkirk" is not a war film, but a suspected british rout and retreat in the early days of World War II as the background, forcing a non-linear narrative to continue his favorite time and space replacement flower work. In other words, "literary and artistic films packaged into war films" is just that.
But this deep literary tone is a bright sadness based on the mature film industry. If the directors of the Celestial Dynasty also want to express the poems and distant places that they cannot relax in their hearts, they suggest that they follow them from both the aspects of ramming technology and storytelling.
The final position of the big film
Although Nolan is a science fiction film who directs suspense films, he is good at fragmented descriptions, reflecting most of the future world, but he is also a big film enthusiast, enjoying the mysterious and magical process of film undergoing photochemical reactions in printing, which can be described as "mud and ancient". For Dunkirk, which was shot entirely on large-format film, the best way for enthusiasts to watch the movie was to see a 1.43:1 laser imax screen to get an immersive feeling beyond the 3D effect.
The rapid development of imaging technology has made many directors throw themselves into the arms of digital films, but Nolan, who is keen on irrational dreams and unknowable interstellar, has stuck to the position of film shooting.
In 2012, there was a geeky and technical documentary "side by side", which was initiated and personally interviewed by Keanu Levis, and the interviewee almost swept away the big directors of the European and American film industry. Look at the savior neo, from Lucas to David Finch, from Cameron to the Wachowski siblings (who were still siblings at the time), from Martin Scorsese to Soderbergh, and even the standard European literary film director Russ von Trier, generously expressed their opinions. At that time, the film was in the transition period between film and digital, and the two coexisted, so the Chinese translation of the film side by side was also quite Zen.
Side by side (2012)
Technology is just a means, some films will be used in both shooting techniques, and some are only used for post-cutting, for which famous directors have different choices. Nolan and Nolan's photographer vowed to be the last person to take the film.
Nolan's style of not compromising with new technologies is also a blessing for fans. Dunkirk, a documentary film shot on large film, does create an extraordinary sense of battlefield "immersion," especially in Dunkirk's air combat passages.
The audience follows Farrell, the British Air Force Spitfire fighter pilot played by Tom Hardy, and experiences the thrill of a different kind of royal air flight. In order to pursue the perverted sense of realism, Nolan not only invited out the real aircraft of World War II, but also had to fix the nearly 100-pound camera on the old machine, close to capture the changes of real light and shadow in the fighter maneuver, and what was more "mad" was that Nolan hid the huge camera in the cramped cockpit of the aircraft to shoot the pilot's first field of view.
The MK-i Spitfire used by the British army at that time was single-seater, and Tom occupied the cockpit, so how did the pilot who actually piloted the aircraft be placed? Or how to hide? Nolan, who refused to cg processing, actually used the Soviet-made Yak-52tw aircraft to cosplay the Spitfire fighter, of course, first used 3D printing to the Yak-52tw to make a makeover, and paid special attention to the angle when shooting, avoiding wearing gangs.
There is also a soundtrack and sound effects. The bullet effect in reality is not so shocking, and Dunkirk shows a kind of "heightened reality", or "psychological sound" that the character subjectively feels - in that moment, Nolan wants to make the audience feel threatened by the proximity of death. Hans Zimmer's score also did not hesitate to dominate, basically using the so-called "shepard tone" in each piece of music, allowing the audience to hold their breath and fearful of following the main melody.
He also insisted on using actors the same age as the soldiers of the year. A group of British "little fresh meats" playing the organized, undisciplined young soldiers is an integral part of the director's pursuit of "zero-distance experience". And questioning the "small fresh meat" starring in the big theme is not a topic that only the Heavenly Dynasty has. The most controversial of "Dunkirk" is the British singer Harry Stiles - a popular talent show, who has not acted in a movie before - these British public opinions thrown at Nolan seem to have heard.
The editing technique is as fancy and concise as ever. Although the timelines of the three narratives are different, it is already intimate to use subtitles at the beginning, and finally coupled in the nearshore passages in Dunkirk.
If there really is a "heavy industry film" gimmick, Nolan pursues shooting skills and draws on "making" movies rather than "making" movies, which is an admirable Don Quixote attitude.
A historical view of selective blindness
The production technology should be praised, so what is the historical view of Dunkirk?
The slogan is "400,000 people can't go home, home is for you". The concept of home, in Hollywood's well-established narrative techniques, has been tried and tested, whether it is a disaster film or a war film, the protagonist is undoubtedly not first abandoned in various senses, and then returned to the physical or spiritual home after suffering, and this return is given the meaning of hiding and fame, which is equivalent to saving the world.
This time, the fans who rushed to the big scene of the war, mainly military fans, would feel that they were not addicted, and some people even thought that the Dunkirk evacuation clips shown in the pure literary movie "Atonement" could crush Nolan's "Dunkirk".
Not only were the audiences of the Celestial Dynasty sentimental, but they were also saddened by the grief of the Expeditionary Force and General Dai Anlan; the Americans also felt that the film was too "white", the protagonists were all white, and did not reflect the "political correctness" of multi-ethnicity and multi-skin color; the French were even more angry, believing that not only had they suffered the blow of being repatriated during the real retreat in history, but also shrunk to zero on the screen, which meant that they had been abandoned by the British; in addition, the Indians were also extremely aggrieved - the composition of the British Commonwealth was not mentioned in the slightest, and the face of the ancient state was shelved.
But this is Nolan's "Dunkirk", his historical complex.
He is even reluctant to reproduce it digitally, because postmodern "digital" technology is equivalent to "artificially creating a gap between history and the audience", with "a certain degree of absurdity". It can be seen that Nolan is shooting this historical fragment with devotion.
The highlighted Tom Hardy, a brilliant RAF pilot Fariel, did not tease as his predecessors in "Tiger's Mouth", but gave up the return voyage when the fuel was about to run out, continued to hunt the enemy who wanted to bomb his retreating troops, and finally ran out of fuel, and then circled around the soldiers soaking in the sea and the anticipation of the masses in front of him, shooting down a Stuka.
The picture of the civilian ship responding to the call to "brave the enemy's artillery fire" to send a thousand sails to receive the withdrawal of the British army is even more incomparable.
Nolan's mind and the "Dunkirk" that appeared—all the planes were shot down, all the warships were sunk, all the soldiers fell into the water, all the tanks that should have appeared did not appear. A major shift of more than 300,000 people, even under the lens of the high-altitude view, it seems that only a few thousand people are squirming.
The director's intention is more or less to reflect historical events in a "panoramic" way—the heroic contribution of the Allies may be more "politically correct", but it is not conducive to the expression he wants. Only by focusing on the British soldiers by poking the camera into the face of the character can we render the sense of despair that is close at hand. "Dunkirk" needs to convey this despair to the audience, as a way to set off a "safe retreat" is also a victory.
Those who are familiar with history know that from the early days of the war when Britain and France wanted to make peace with Germany in private, which led to being driven out of Europe by German tanks, to the "generator" plan to turn the tide of the tide, britain also made yin and yang hands on its ally France, and then to all kinds of dirty and dirty after the retreat, "Dunkirk" is simply a silhouette of Britain's ugly face.
In Lacombe Lucien (1974), directed by French director Louis Mahler many years ago, the affectionate shots exude sympathy for a Nazi-inspired treacherous man. But not all Westerners respect this "humanity", and the French scholar Foucault, after watching the film, fiercely accused Mahler of being a "watchdog" and glorified the powerful with petty bourgeois sentiment.
Lacombe lucien (1974)
In contrast, Nolan's "Dunkirk" has at least a certain measure.
Deliberately obscure enemies
Undoubtedly, "Dunkirk" is marked by Nolan's strong personal mark.
The director follows the old routine of Western films: by expressing the negativity of human nature to indict the devastation of war, and in terms of technique, the usual elements that war movies like to play out are wrapped up and converged.
He even succeeded in circumventing the indispensable antithesis of the "enemy army.".
But this "absent enemy" is very different from the 1962 Soviet film Ivan's Childhood.
【Ivan's Childhood】 Иваново детство (1962)
Tarkovsky's "Ivan's Childhood" does not appear German, and Stuka's screams appear from time to time in the lead-colored sky. The dream passage in the opening is basically the embodiment of a poem by the director Tarkovsky's poet father. A teenager who should have had naïve dreams lost both parents due to Deko's aggression and became a more stoic warrior than an adult, passing information to the Soviet troops behind enemy lines, and finally sacrificing to the crazy counterattack of the fascists. Every shot in the film is a photographic work, every passage is poetry, and every character exudes Slavic masculine beauty.
As the enemy, the German army, although "not present", created a huge sense of existence, and its ferocity was everywhere. "Ivan's Childhood" is ostensibly about the battle story of a teenage hero, but the entire structure of the film is based on Ivan's four dreams, portraying the little protagonist as both a saint and a devil. The French critic Antoine de Beck said Ivan was a "holy child" because he witnessed human suffering. The film also does not directly show Ivan being caught by the Germans and sentenced to capital punishment, but is supplemented by a series of documentary footage: a ruin in Berlin, the corpses of Goebbels's entire family, and finally, when the comrades accidentally find pictures of Ivan before his execution while looking through the archives, and the child's eyes are only hateful and dead — in order to complete the victors and righteous indictments of war crimes.
However, in Dunkirk, if it were not for the sporadic Stuka bombers and BF-109 fighters who bore all the targets, if it were not for the British naval soldier played by Srian Murphy (the rich second generation who was implanted in the dream in "Inception"), who muttered "German submarines" in ptsd, if it were not for germany, one of the sources of the war, there would be no hiding, the trek of the British Highland Regiment, the insistence of the naval commander, the tenacity of the pilot, and the severance of the French army in three or two shots. Almost all of them became untargeted.
Obviously, Germany, the current engine of the European Union, may not be the object of the British director's want to tart. Nolan just wanted to emphasize his "survival is victory" philosophy.
It is true that in the midst of a chaotic army, escape is human instinct, and the self-preservation of human nature is beyond reproach. But human progress is based on constantly overcoming the negative factors of natural attributes, especially for some of the main "soldiers" shown in the film, the mission of soldiers is to defeat the enemy in war. Therefore, soldiers, whether they are afraid of cowardice or selfish bullying, should not be tolerated and forgiven.
Non-related to the depth of understanding of war and military personnel.
After all, without the arduous Chinese War of Resistance Against Japanese Aggression and the Great Patriotic War of the Soviet Union, no matter how well the European War fought on the Western Front during World War II, it could not change the attribute of imperialism in which a dog bites a dog.
The savior of the new world
Once the film is completed in the hands of the director, it becomes a "living image" that deserves to be interpreted and understood from various angles. In the case of the French philosopher Derrida's "deconstructive reading", watching a film does not have to take into account the director's intentions, because the film is "external" to the director, and only by erasing the "presence" meaning of the film can we show new traces of the film.
At the time of the hit "Wolf Warrior 2", there was an article mentioning the "rise of imperial consciousness". The so-called "imperial consciousness" is not the exhaustive military of imperialism, "from the perspective of film and literary and artistic works, the 'empire' does not recognize itself as an object, it regards the whole world as its home field, and it is always the protagonist of the world, and its own values and justice cannot be questioned."
Thanks to the old empire of Britain, China once fell into the abyss of the world, and its gray head and dirty face were all over the body.
After World War II, Britain's dominance over the world was taken away by its sister-in-law, the United States. In the new century, Britain can only repair the lost Downton Abbey with the 007 Bond and the king's man kingsman on the screen.
With landmark events such as the 2008 anti-cnn, the Wenchuan earthquake relief, the hosting of the Olympic Games, and the world financial crisis as a turning point, China has involuntarily embarked on the road of national rejuvenation under the dual role of external public opinion oppression and internal power accumulation.
"Wolf Warrior 2" strongly fills the common imagination of the people of the Heavenly Dynasty to inherit Zhang Qian, Chen Tang, and Wang Xuance to descend on the "empire", although it is late, but it is not absent.
He Jianguo, a veteran who has been retired for many years in "Wolf Warrior 2", still picks up bricks to make a final struggle in the desperate situation of bullets. And the wise and mighty Teacher Tang in "Dunkirk" forced to land in the encirclement of the "enemy", he may still maintain the calmness of the Royal Air Force pilots, but the forced landing in the sunset can not help but think that the sun does not set The Empire will be thin from now on.
Churchill, when declaring the dunkirk evacuation successful, made a famous speech:
"We will fight to the end. ...... Until the new world, when God deems it appropriate, will exert all its power to save and liberate this old world. ”
I think we'll also become more confident – who is at the helm of the new world of the moment.
Time moves, angels do.
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