"The Gathering at Southern Station" has King Kong glaring eyes and Bodhisattva lowered eyebrows

Lesly 2022-01-23 08:08:07

Zhang Guanren

1. This film is the most quaint film among domestic films in the past ten years. He reminded us suddenly that Jing Ke and Zhuan Zhu were born in the land under our feet. The Five Mountains were light, and the two Guangxi and Guangxi had the heroes, and the Yanzhao had many pitiful scholars. The slogan of Southern Weekend, "Read China here" is very suitable here.

2. "The Gathering at Southern Station" focuses on an "underground China" that has long been ignored and forgotten by us, with square dancing and fluorescent shoes. The bottom layer that we have seen on domestic screens for a long time has been compressed in one direction by the "root of hardship" to be very flat. The bottom layer is actually plentiful and ambiguous. There is low-level cunning and wisdom. The bottom layer here is not only a visual spectacle, but also a sense of moral self-satisfaction. Instead, it provides 3,000 group performances and three-dimensional presence to restore the current China. "Underground China". There are deep ravines and intrigues. There are sprites, the laws of the jungle, the ambiguity, and a sense of order that seems disorderly. And this is actually the fate of many foreign economic papers and tools that have been studying and judging the failure of the barbaric growth of China's economic miracle in the past three decades.

3. Zhou Zenong, played by Hu Ge, wore a faded Argentine classical center No. 9 Batistuta (my only football idol). Like the 2002 World Cup draw with Sweden, the center fell before dawn. Falling on the shore of the water, the passion scene on the boat with him and Gui Lunmei is the only place where the whole story is relaxed. Zhou Zenong represents the three-dimensional spokesperson of the underlying Chinese values ​​for the past 30 years, and is also a collection of thousands of ambiguous individuals behind the creation of the economic miracle. He relied on outstanding personal will and family supremacy, through injustice, through betrayal, through traps, and finally fell before the other shore. It has completed the localized transformation and transformation of the motif of the traditional film noir "Chinatown" 1974, "the streets are full of darker things than darkness", and the expression of film noir in the contemporary Chinese context.

4. The fierceness and cruelty are only the surface layer, and the bottom layer is the survival wisdom of the bottom layer after facing the unchangeable truth. It's not a cheap chicken soup that will be better tomorrow, it's just the self-comfort of sophomores and the middle-man in the greenhouse. The real truth is much harder and harder. He is not praising the bottom with passionate love, and there are a lot of low-level people's reactions in the movie that have nothing to do with him. This is the numb and silent majority. Finally, we saw that the bottom layer reached a reconciliation with each other through the logic of the bottom layer. But betrayal, betrayal, and silence and numbness constitute the basics.

5. Some people may wonder why Hu Ge's motive for fleeing would not be more just? I personally think that it is precisely the place of value. We are not discussing the justice of individual behavior, but we are trying to use him as a case to cut through the sociological texture of contemporary China longitudinally, and use an escape as a microscope to look at this The scene of Sri Lanka at this moment on a piece of land. His escape route was a field experiment of sociology.

6. Director Diao Yinan, who was born in 1968, deserves to be the confidence cultivated by pioneering dramas that emerged from the small coal pile in the early 1990s. I saw good things when I was young, but when I was old, it was wealth. To live up to the heart of Honghu, not to fall for Qingyunzhi. He was not the one who made the heads back then, but he was so angry that he had a long aftertaste, silent, and lived the longest. Over the past two decades, we have maintained the caring stance of the society. After the cultural opening up in the 1980s, that generation has the perseverance and responsibility of cultural elites. The more important thing is courage and pioneering. The audiovisual language is more advanced than "Fireworks in Daylight".

7. The production of this movie is very hard, and it is absolutely not tricky. It has constructed a "wild goose pond" kingdom born out of nothing. It is Mo Yan's Gaomi, Yu Hua's Haiyan, Faulkner's York Napata. The director's literary skills are very strong. I am also very ambitious, and I hope to create something elusive on the Chinese screen, which is similar to Orson Wells’ The lady from ShangHai. He almost succeeded, and we know why.

8. I am very happy to see some visual interactions with "Last Night on Earth". After all, everyone from the producer to the chief creator of fine art photography and even the young executive director works together. In the past two years, the two most distinctive literary films in China have intersections but more diversions here. One is more personal, and the other is more social. In any case, it needs a hundred flowers bloom, and it needs to be ever-changing. I hope that the market for literary and artistic films with strong authorship in China will become more and more prosperous. At the same time, the expression of audiovisual language is not soil or loose, and it can reach first-class standards. The panoramic view overlooking the locust-like motorcycles filed out was great. The scheduling of the group drama captured on the roof of the building is also very good. Photographer Dong Jinsong's ability to shape characters in a low-light environment is great.

9. If you must say regrets, friendly reminder: This film does have a violent and bloody side. You must have psychological expectations before watching the movie. It is not suitable for children under 10 years old. Gui Lunmei's handling of femme fatale in the end still has room for the coordinating with the criminals and the police, because it involves the reversal fit at the end. The Solo River is indeed beautiful, and Jiang Wenli has long been above it. The other is that Huang Jue's representative business is a bit sloppy about the bullying and injury at the bottom. But these shortcomings have long been concealed by the extraordinary courage and talent of the creator.

10. Congratulations to the two producers, Shenyang and Lu Yun, each film is not easy, but this film can be said to have overcome all obstacles, but the future will definitely be gold and silver. Give you a big hug. Congratulations to director Diao Yinan. All the hard work and effort are worth it. Your production level can match your creative ambitions. This film will have its historical place in the sociology textbooks that will study the current landscape of China during the transition period in the future.

11. Congratulations to Li Li, the chief producer. Word of mouth and box office often give back to those ambitious and unhurried adventurers. They have great stamina, which has always been the case throughout the ages. This is also the key to industry progress.

There are not many domestic movies worth watching this year, and it is worth writing less, so I decided to go to the cinema to watch "The Party at South Station" again.

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Extended Reading
  • Ansley 2022-03-20 09:02:53

    The hand that puts vinegar on the noodles to stop time is the last tenderness of fate to him.

  • Koby 2022-03-19 09:01:09

    Diao Yinan’s aesthetics comes from the integration, this time it is even more extreme, Rainy Night Chase can be selected as the best lens of the year. The film itself is full of alienation in the director's context, the wheel of fate is rolling forward, and the struggle and reconciliation of all the characters are embarrassing. Diao Yinan's ability to train actors is impressive. Under his lens, Gui Lunmei is as ethereal and beautiful as ever, while Hu Ge has a broken dreamy color.