Ten years later, Feng Xiaogang returned to the Lunar New Year file, this time bringing "Assembly Number". At this time, Chinese movies have entered an era of rapid development. This year, the official statistics of the domestic box office of imported Hollywood "Transformers" reached 270 million yuan. It's not that no one is watching movies, but whose movies are being watched-domestic movies are obviously not as attractive as Hollywood movies. Domestic movies are still facing the embarrassment of quitting the stage after they have cultivated the market for Hollywood. Therefore, what Chinese film should look like is still the same as it was ten years ago, urgent and vague.
Remember that Master Zhang and another real estate agent surnamed Zhang once let go of rhetoric, asking Master Zhang to make a movie to save the market. However, I believe Hong Kong director Wang Jing's words more than personal rhetoric that he wants to save the world. The director can never save the market, but only meets the needs of the market. Master Zhang's filming of "Riding a Thousand Miles Alone" at a box office of 35 million fully illustrates this problem. If you shoot a martial arts costume, it does not mean that you can sell a literary movie back. What the Chinese market needs are commercial films, and there is only one way to save the market from commercial films.
This is what Zhang Yiwu said at a seminar on young film directors last year. If Zhang Yimou does not shoot "Golden Armor", the money will not fall on your sixth-generation director like Jia Zhangke. This sentence does not mean that Jia Zhangke's movies are not worth watching, but that movies are first of all a business, and making money is the essence. This argument is extended to Chinese movies. It is Chinese commercial movies that can save Chinese movies in the future, not niche movies and art movies.
Taiwanese films died tragically in the 1990s. Later, many people concluded that it was the Taiwanese film that killed the new film movement in Taiwan. This conclusion is just putting the cart before the horse. After summarizing a large number of Taiwanese film screening data, Taiwan scholar Lu Feiyi believes that: Taiwan’s new film movement has never occupied a major position in Taiwan’s film box office. In other words, it has always been on the edge of the market, waiting for one to walk on the edge. The film movement of Taiwan has saved the entire Taiwanese film market. This is not a idiotic dream or a high fever. The fact is that the death of Taiwanese commercial films led to the death of Taiwanese films. This is the truth.
Now mainland domestic films still face this question: What should our mainstream commercial films look like? Is it the direction guided by Master Zhang? If it is, then Chinese movies will undoubtedly die. In fact, Master Zhang's experience is closely related to the historical era at that time, and it is completely impossible to replicate. After more than two decades of China's rapid transformation, it is impossible to leave a space for Zhang Yimou's second. Therefore, it is difficult for domestic directors to copy what Master Zhang can do. This includes investment, contacts, fame, actors, editing, distribution, screening, and so on.
On the contrary, the "Assembly Number" that Feng Xiaogang brought this time is just a new direction that makes people's eyes shine. This direction is: first, commercial films. Second, the main theme. The main melody film made in China has always been criticized for not speaking human words and doing personnel affairs. Therefore, even a film with a box office revenue of 200 million yuan (estimated 90% of the water) like "Zhang Side" cannot be called a commercial movie because it cannot be brought. Give the audience the desire to buy tickets for admission. The fact that "Assembly Number" allows audiences to buy tickets to enter the venue (not to book a venue) is the success of "Assembly Number" as a commercial film.
In addition, there is no need to cover up, "Assembly Number" is the main theme movie. The main theme of "Assembly Number" is the brilliance of director Feng Xiaogang and screenwriter Liu Heng. Because the main melody took advantage of publicity (on CCTV "News Broadcast") and schedule (a little more than a week before New Year's Day, this time last year it was "Yunshui Yao" followed by "Golden Armour").
In fact, as far as our country’s current system is concerned, the main melody movies have obvious advantages in terms of funding and screening and distribution. If we are to fight against Hollywood movies at this stage, the current important task is on the main melody movies. The problem is how to combine the strengths of commercial films with the main theme, so that the audience can pay to enter the theater.
Judging from the original story of "Assembly Number", Yang Yuanjin's novel "The Lawsuit", this is a story that cannot be called the main theme anyway. When Feng Xiaogang contacted Bayi Film Studio to shoot "Assembly Number", the leadership of Bayi Factory saw through the hidden worries behind the novel "The Lawsuit" with foresight, so he considered repeatedly rejecting Feng Xiaogang's request. What the leaders of Bayi Factory didn't expect was that this novel could become the main theme movie, so the audience was fortunate not to be tortured by the war film at Bayi Factory.
From the perspective of "Assembly Number", this may not be the best domestic war movie, just as "Party A and B" is not the best domestic comedy movie, but if "Assembly Number" can be a Chinese movie like "Party A and Party B" Naming the future path is just as great.
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