From 1.05 to 2006, Chen Kaige's Promise, Zhang Yimou's Golden Armor, and Feng Xiaogang's Banquet bid farewell to the historical legends, realism or enlightenment-style social films, folk films, and urban comedies familiar to the director. A trilogy of exaggerated and gorgeous commercial blockbusters with powerful casts. Before this, it was a hero, but it is not as popular as Wuji. After this is the opening ceremony of the Olympic Games, which may reflect a national strength/cultural expression when a great power rises. A wanton and hollow expression, at least in the image. (But it's not ugly if you watch the fun.)
2. The Golden Armor chose Thunderstorm, the Night Banquet chose Hamlet, and the Promise may have chosen Oedipus: God's prophecy will still be fulfilled even if it is escaping - they will not get love, and they will still kill the king in order not to send someone else to kill the king. Killing the father and marrying the mother - a father-son master and a slave fall in love with a woman together, and finally achieve arrogance.
The requisition of classics may be a strategy for stability in commercial production of blockbusters, and it also refreshes the aesthetic experience of realism, but it has also been criticized by the plot. As a tragedy of fate, it is now impossible to find a realistic basis or individual emotions. Relying on, he can only resort to the randomness of evil human nature or "a bloody case caused by a steamed bun". There are only two real people. When Cecilia Cheung saw Nicholas Tse revealing the reason for his blackening, he also had a question mark on his face.
It should be said that if the classical drama adaptation does not lose its core, it can still retain its shocking power. ), can still make people feel the original tragic power.
3. But then again, as the most fictional (and most fable) and relatively original work among the three films, Wuji is indeed the most romantic, passionate, and humane one. We saw the general's The triple dilemma of possessiveness, fame, and love, when fate cursed him to be unable to get love, he struggled to make a choice, and finally became a person who could not be loved but deserved to be loved. Seeing that Liu Ye followed his heart and was relieved to the God of Death, the first time I saw his appearance, I thought he represented the God of Death, but he was actually a character who feared the God of Death and lost his will. He finally had the courage to choose to be free. . Jang Dong Gun is actually the one who turned into a slave and married the heroine. He knew that he was not a natural slave. From the very beginning, he was constrained by his own appetite and identity in order to "have meat to eat" and "follow the master", and became the pursuit of love and assassination. King, defying his master, defying fate and time.
Perhaps the father-killing complex contained in the three works is the continuation of the spirit of "directors of the children's generation" from the five generations of directors (if Feng Xiaogang is counted), starting from "The Yellow Earth", "Kid King" and "Red Sorghum", Their works always contain the theme of elite enlightenment "Chinese people can't live like the past", hoping to inspire people to transcend the history of their father's generation. At this point, Wuji is purer, more courageous, and more idealistic. In the end, Wuji has an idealized ending. The slave turned himself into the master and married the master's wife. Liu Ye, the general, and Zhang Dongjian actually went from obeying fate to rebelling against fate, and finally liberated. Good people overcome fate and even time reaps love.
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