Two lines of tears

Estevan 2022-02-19 08:01:49

First of all, I haven't read Liu Cixin's original work, but since he signed the screenwriter of the film, and it is said that he has changed a lot from the original work, it does not affect the viewing itself, so I will ignore it for the time being and just talk about the film.

The core of this film is a very clear science fiction disaster film. I don't know if the director's initial construction was so planned, but the final result is like this. Although the title is called "The Wandering Earth", the whole film doesn't talk about this, it just explains how to "wander", so it is more like "Rescue the Earth". Specifically, the selection of events is mostly sudden, and there is no logic at all. This is understandable, after all, it presents a tragic texture of a disaster film.

But the protagonists move too fast between the cities. This kind of forced setting for the purpose of the story or for some visual purpose is really speechless (or you can give some necessary explanations), which also leads to obvious The rhythm of the story is out of balance, and the story promotion process is extremely weak. There has also been some unusually abrupt events in Wu Jing (Human-AI is particularly prominent), which neither fits the theme, but also disrupts the rhythm. It can even be said that this character is also forcibly added (for commercial considerations) and is too perfect. image of. The other main characters can't make facial makeup anymore, they are all empty-shell characters. The arc of the protagonist's character is carried out almost without any accident, but lacks meticulous modeling, just like watching a model drama that has remained unchanged for decades.

Moreover, the film is a bit too bad on the emotional level. The relationship between each character is a predictable emotional maneuver. The use of video methods is good for creating a sense of apocalypse, and the overall sense of despair is reflected. But whenever the perspective returns to the role level, the sense of fatigue can be clearly perceived. The whole family line is really rough, so I can only choose "Dead Man Dafa" and use the soundtrack to force the sensation, and then come to a character monologue to complete the dots. The "moving" moment was really effective based on my observations while watching the movie, but the problem with doing so was that it was too low-level.

The entire human-level broadcast actually made some incredible discourses for the so-called "human touch". I don’t know the meaning of emphasizing the special identity of the "savior". In fact, the protagonist setting of a high school student and a junior high school student is somewhat lacking in rationality, so again Through the last stage of the broadcast, the whole mission also has a sense of playfulness. It is undoubtedly a kind of destruction to the tragic and tense feeling that should be rendered at the last moment. Many lines in the film are also quite embarrassing and abrupt, failing to effectively integrate into the story and the characters.

In terms of audiovisual, the destruction and desolation of the landmarks of several major cities in China is a good way to create a sense of apocalypse and visual impact. The moment when Jupiter is finally ignited to propel the earth is also shocking. Efforts can be seen in special effects and art. Whether it is the heavy and textured clothing of the protagonists, the industrial moving tools, or the several macro shots and micro perspectives of the entire dungeon, they all form a film world view. An aesthetic system.

Some very "localized" content is also more interesting. The time in the film is in alignment with the actual viewing time, so there are many Spring Festival elements in the film. And some specific lines can only be heard in the Chinese context, and the intimacy is multiplied. This is a reflection of the author's consideration.

But the camera connection is a bit messy. If the editing has no grammar, at least the narrative efficiency must be ensured. Certain disaster-escape shots don’t even know what they are talking about. They are inexplicably advancing or zooming out, giving some weird things. The face was close-up, skipped and skipped, so I couldn't even do this, resulting in a very obvious discomfort. But the long shot that stretches from the ground to the space station is still very beautiful, showing the sense of space that the worldview in the whole movie should have.

The part that really belongs to "science fiction" probably involves the "Roche limit", igniting Jupiter, planetary engines, etc. This part is also well integrated with specific stories for implantation. In this regard, I think Liu Cixin has made a great contribution. But I am a liberal arts art student + non-sci-fi fan, and I am not qualified to talk more about this aspect.

However, if the line of sight is lowered to the level of consciousness, it will be barren. Except for the implied ideological proposition of a certain escalation in a movie directed by a particular star, it is not very obvious, but it is the meaning between the lines. From how to save the earth, the crisis is Perceivable. There is no thinking at all when the line of sight falls to the subtle point. It is completely possible to make a fuss about the human nature in the apocalypse, or to refine the protagonist’s family line to complete some effective humanistic thought expression output. Maybe you don’t want to do these things. After all, such "industry" is very difficult to do.

Many details are also familiar to the naked eye. Various encounters at the earth level such as "The Day After Day" and "The End of the World"; the protagonist's family level of growth and misunderstanding-reconciliation drama such as "Interstellar" also has other traces; the space station level human-AI such as "2001: "A Space Odyssey" is also very similar to the appearance of the space station; the encounter between Wu Jing and the Russians at the outer space level of the space station is like "Gravity."

As a result, the whole movie ended up resembling an assembled variant of "sci-fi", obviously the focus should be on the concepts brought by Liu Cixin. I understand that the director loves science fiction movies and wants to pay tribute, but the accumulation of too much will seriously lack self-creation. Some of the "ingenuity" that he wants to embody is easy to be overwhelmed because of this, that is, it is overwhelming. Sometimes subtraction may be better than addition.

There are always people who want to say how they worked hard. Of course it is not easy. The production process should be very hard. I am also very sure of this movie, but there are so many faults on the film level. It is really a fact that cannot be ignored. The industrial formula of the country’s own steelmaking method has finally come out with some results. I still have to cheer you with tears in two lines.

But it’s still a good thing, but there is still too much we need to improve. The so-called significance at the moment is only the meaning of the film industry and the industry, not how good this movie is, so I am more optimistic about the future of this movie. Tomorrow, after all, this is still the first step. What will happen to the future of Chinese commercial production and Chinese science fiction movies?

So don't indulge in self-movement anymore. Look up at this world. There are sun, stars and moon.

Some efforts are almost tangible.

Finally, maybe some people are science and engineering or practitioners, or they may just love science fiction (then my ID is still from a certain science fiction work), but in that case, can I use rational thinking? Everyone’s perspective is The difference is that some people care about how it "wanders the earth". What I only care about is how it constructs the theme, how it presents the image, how it completes the work, and how it expresses it. If you want to refute me, I hope that I can come up with image thinking and take out the knowledge of film studies to discuss rationally. Please correct me if there are key mistakes. Please don't just abuse and belittle it blindly.

If I am really keen on any aspect of "academic", I really don't know how such fierce irrational exclusivity can come from, and even the parties have to fight against each other. There are no omniscient and omnipotent people, but it does not mean that they have to deprive them of the right to speak. I am afraid that this kind of talent is the least "scientific".

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Extended Reading
  • Jerrod 2022-03-17 09:01:07

    8.8. I’m going to comment on the first one. Why don’t Chinese science fiction movies deserve high marks to encourage us? Do they have to be placed on the international level to be objective? Are you really that objective? I read "Seventh In "Samurai" and "Walking in Space 2001", would I give such a high evaluation regardless of whether he was a movie of that era? It is also a matter of timeline. I think domestically produced things are highly evaluated. It’s really okay. It really needs encouragement to continue to develop. How many themes and types of movies in my country are hindered by your ideas and difficult to develop. To your comments, Chinese science fiction movies are really hard to move. China Movies will also be affected. I really hope that everyone can understand and evaluate domestic movies based on the history of my country's movie development.

  • Jerrod 2022-03-18 09:01:06

    Liu Qihan Duoduo, the earth is for you two, destroy it, hurry up, tired.

The Wandering Earth quotes

  • Liu Peiqiang: Since the day The Wandering Earth project began... there was no going back.