This is a film I didn't like but got tearjerked and gave it four stars, Mark's opinion from the screenwriter.
1. The theme and the theme play a greater role than the content, especially in the context of commercial films. This point was always mentioned by my teacher when I was writing scripts in my spare time, but I felt it deeply after watching this film. The trinity of money and medicine is a basic concept that everyone is familiar with. If a junior high school student is a keyword, he can write something. The threshold for understanding is low, and the public gets the basics.
The ultimate pursuit of the editor has also been achieved: the medicine of life has become: sky-high, terminally ill, and unstoppable medicine. If the medicine is not good, and it is too expensive, the dramatic tension will naturally come. Only skin-piercing pain can reach the gate of life, and the subject matter holds the root of life, so even if I complain about the plot again, I will still be tear-jerked...
2. Characters
Looking at the poster, you can see that the four supporting roles of Shengdan Jingchou are all occupied, which means that various elements will appear reasonably.
Sheng - standard rookie male second, weak but kind, responsible for plot twists / warmth
Dan - adjust the tone (add the nightclub scene reasonably, adjust the sick and miserable visual scene) and the rhythm (love and sex) (sex point is so far thank goodness
Jing - Huang Mao changed the rhythm of the play and chased the play, and also took into account the family drama and Cheng Yong projecting father and son love to each other
Ugly - the priest is just funny to say "God bless you" in English. It is a contrast to stand up bravely to expose the fake doctor
Cheng Yong is God himself. Xu Zheng was originally the "god" of the work, and he also created a medicine god for himself in the play. I really think he is very cool and enjoyable, and the most important thing is that he is very shrewd. I don't think the protagonist's transformation into a charitable medicine god is a work. From the screenwriter's point of view, what he saves is no longer a cat, but a bunch of human lives! They needed God, and the audience needed God, so he came. I won't discuss the issue of personal heroism at the social level, let's just say that this script has to be written like this...
God's opponent should also be God. In the film, various "gods" appear in turn, but it is very obvious that all the gods of faith are defeated by the gods of reality, and all Buddha and Christ have become the laughing stock of jokes. ; In reality, there are the God of Power (the official representing public power, the expert doctor who has the right to decide whether you live or die) and the God of Wealth (who makes genuine medicines and sells counterfeit medicines), and also arranged a meeting of the bosses of genuine medicine companies. The sermons of the TV health program are reminiscent of the TV (media) creation of gods in "American Gods". These gods battled with the grass-roots medicine gods, but they didn't go deep enough, and there was no twilight of the gods, and the villain gods were still a bit facialized.
This "fight of gods" can still catch people, relying on a villain god who is always present and always deterrent, the god of death.
3. Plot:
Multiple echoes or comparisons. For example, Cao Bin and Cheng Yong acted twice to protect their "relatives".
Typical actions and typical items are used repeatedly, such as Cheng Yong delivering cigarettes and Lu Yiliang oranges. The orange that pokes me the most is the orange. It's good for both character creation and emotional push, but I think it's over when the yellow hair cries and eats oranges outside the Lvyi Mourning Hall... This is the same for the whole film, in restraint, skill and harmony. Amidst the abusive mix. Speaking of restraint, I remember another point that I remember. The moments of the death of the two supporting actors were very restrained, and they were cut directly to the aftermath. Moreover, the two patients did not die of illness, but died violently. It may be a silent protest that trumps sensational lines.
Writing the play is relatively clean, such as explaining the relationship between the characters: four times when the younger brother and sister and Cheng Yong met, they directly knelt down and pleaded for mercy, sat silently and shed tears, and drove out the four scenes in one line.
The excessive drama of the plot is a bit of forced drama that I personally want to complain about. For example, I will go back to my hometown immediately after raising the flag to go home... If you want to avoid lightning, you should bury the line early and lay the groundwork. Huang Mao suddenly drove his car and was killed. The starting and closing of the line are too rushed, and it is thunder.
4. The structure of the script is relatively stable, and there is nothing to say. The routine is shameful but useful. The plot is unfolded according to the fixed rhythm of starting and ending, and the scene is calculated at each point like an AI algorithm. Although it is a routine, the audience is You can eat this set, so it's not a bad thing for commercial film routines. It's good that everyone can play the routine 6.
I thought about it on the way home after watching the movie, maybe I got four stars because I recently got poor and sick by myself, maybe when I was living a rough and rich life at school last year, I would give two stars mockingly. Well... This is a film that tells Chinese stories well, in various senses, right?
Also, the physiological tearjerking was successful for me, but what impresses me and keeps thinking about it is the feeling of suffocation after watching Yang Dechang and the feeling of finally exhaling and continuing to walk.
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