The title of the film is in traditional Chinese characters, but every smoker must be a red gold dragon, and Hu Ge finally wore Batistuta's No. 9 jersey... The director is well-intentioned.
I haven't been out to see a movie for a long time. The girl who bought the ticket in front said, "A suspense movie?!"
Oh, I forgot, some people watch movies for lovers in the dark.
I, for Wuhan dialect.
Not dubbing the protagonists should be because they feel that their respective timbres are in line with their respective image and temperament. With dubbing, maybe Wuhan's words are accurate, but the voice doesn't match the face.
But since it was decided to use Wuhan dialect for the whole process, it must be because the voice and language match the tone of the film and the temperament of the urban background. So, whether the dialect is accurate or not is very important.
After the opening firefight, Hu Ge said: "You want us to stop the robber game?" The subtlety of this line is that when he said it at this time, it highlighted the character's personality and showed that he still has the mind to make jokes and jokes. The ruffians and dicks of Wuhan dialect can accurately convey the beauty of the lines. Hu Ge said it out of shape and wasted the screenwriter's design.
Wuhan dialect has two temperaments - pyrotechnics and chivalry, which are in line with all the characters. Xiaolie and other "Hu Ge" brothers, for the sake of their boss, were willing to risk being arrested by the police, and came forward to find a sister-in-law for the kidnapper and let him achieve his wish. When they use the authentic Wuhan dialect to communicate with each other, when they confront the police, when their lives are on the line, it doesn't matter whether you understand Wuhan dialect, because you can hear the righteousness.
Gui Lunmei's "abductee" also has problems. She has called it about ten times in succession, and almost never called it right. Simple two words, the tone and tone are completely different in different situations. Sometimes it is asking for others, sometimes expressing closeness, sometimes it is polite and then soldiers, and sometimes it is impatient. Gui Lunmei shouted the same way, but she certainly couldn't blame her. After all, she has so many lines, and most of the dialects are accurate. As a Taiwanese girl, it shouldn't be difficult to learn the tsk and squeaks in the Wuhan girl's accent, not to mention it fits the position of a swimmer. Sorry about this.
This also raises the question of the importance of dialects. The mother tongue of the Chinese is not Mandarin, but their own dialect. Mandarin is poor in vocabulary, which is why children in the 21st century will invent expressions such as "囧" and "Halo". Because they don't know how to deal with this emotional expression in Mandarin. But if you rely on dialects, you can get away with it.
In the past, the main theme film and television, the leaders all spoke dialects. Now speak Mandarin. Chairman Mao, Premier Zhou and Duke Deng scolded the United States back then, with thunderous and loud voices. In Mandarin, the strength is lost.
So I think, in the future to enjoy movies and TV, whether to equip a remote control, there is a switch button, which can adjust the sound to the audience's own dialect; there is also a filter function, which can adjust the light, shadow and color according to your own preferences; with a scale button , you can cut off Hu Ge and Xiaogui's breath, oh, it's a boat show, splicing and restoring. Film critics in Hong Kong and Taiwan always say that mainland male stars can't act in passionate dramas. I don't believe it. Li Ao was suppressed in prison for a long time, and when he came out, he told Hu Yinmeng that he was the number one person in the universe. The mainland has been suppressed longer than Li Ao, so he should be more wild and passionate.
The future of film and television should be an interactive experience. The data of all the actors in the world from peak to dusk, 3D dynamics and exaggerated expressions to restraint are completely collected. According to their own analysis of the plot, the audience selects the actors by pressing the button, and then uploads them. AI can be the No. 1 in Go, and it should not be difficult to judge the best final version. In the future, the function of the cinema will only be to show the global unified version and provide dark seats. Individuals watch their own collocations at home. Film and television should become more and more private entertainment, because if I switch from Liu Huifang to Pan Jinlian when I revisit "Desire", it will definitely arouse criticism from the older generation. Although I'm sure this switch will give new life to the old show and make it more desirable.
Added on December 14th:
I don't know if anyone has the same feeling as me, but "The Party at South Station" seems familiar. I thought it was a good encounter that all seemed familiar, but after thinking about it carefully in the past two days, I suddenly found out: Is Diao Yinan paying tribute to "The City That Never Sleeps"? Is the story told by Takeshi Kaneshiro in "The City That Never Sleeps" in 1998 very similar to this film? The storyline, the character setting, the mutual probing, suspicion, and trust between the male and female protagonists, you can even think that you are telling the same story. The image of Hu Ge slumped on the bow is almost identical to that of Takeshi Kaneshiro slumped on the floor. You even find that the two actors are a bit similar. Gui Lunmei said I would go up first, and you would come up in 15 minutes; Takeshi Kaneshiro said I would go in first, and you would call in 15 minutes. The difference is that, because of the different review environments in which the two films were placed, "The City That Never Sleeps" is more blatant and has a darker ending.
I don't know if there is a chance to verify the director, whether "The Party at the South Station" and "The City That Never Sleeps" have a heritage?
I also hope that the bean friends who have seen these two films can discuss it together.
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