In all honesty, in terms of the film's directing ability, this group of people of the sixth generation are not free, they really have two brushes. When they went to school, they happened to be the fourth generation—Xie Fei, Zheng Dongtian, and Han Xiaolei were teaching at the Film Academy. It was the second half of the 1980s, when the minds were at their most open, and people's spirits were high, and they were catching up with Zhang Yimou and Chen Kaige, the former rebels, who became a mess at home and abroad. The fourth generation was beaten by them during the Cultural Revolution. After the Cultural Revolution, they finally managed to turn over, and they were crushed on the head. They held back a sigh of relief and wanted to teach a group of younger generations to come out and destroy the fifth generation. So the teacher and the students worked hard together, worked hard together, and worked hard for four years. For example, the sixth-generation gang was the Ferrari Enzo in "Old Cannon", not only advanced in technology, but also of noble blood. Compared with them, the fifth-generation batch are at best walking tractors, and they really haven't read a book for a few days. No matter their concepts or methods, they are far worse.
But just when the sixth generation was gearing up for a big job, they caught up with the sudden change in the situation. After 1989, the entire ideology tightened rapidly, and the annual production of Chinese films dropped to freezing point, leaving only a few main theme garbage piles there. Charge the number. Not to mention the sixth-generation gang of hair-headed boys, even the fifth-generation who they want to kill has no way out. In 1994, Tian Zhuangzhuang's "Blue Kite" and Zhang Yimou's "Alive" were successively banned, only Chen Kaige's "Farewell My Concubine" Because it won the first Chinese Palme d’Or, if it was banned, it would affect the international audience. Farewell My Concubine?). The sixth generation of ambitious young people who want to make a name for themselves were blocked from the arena, not to mention sprinting to the line, and they didn't even have a chance to lie down on the starting line.
We all know what happened after that. The sixth generation was unwilling to make a batch of so-called "underground movies", and since then they have embarked on a road of no return to break with the system. This thing is especially like the plot in a martial arts novel or a Japanese samurai movie. The world is not old, the knight is injustice and avoids the disaster, the bandits collude with the government and run rampant in the countryside, in order to save the common people, the hero shot angrily. Leave a cloud. . . .
Therefore, it is logical for Guan Hu to make films like "Old Pao'er". "Killing" and "Cooking Ruffian" are also the same way.
Today, "Old Pao'er" has already overtaken "Long Searching" and "Villain Angel" at the box office, and the counterattack has been completed. It is said to rely on word of mouth, where did this word of mouth come from? For example, the sixth son wanted to redeem his son Li Yifeng with 100,000 yuan. He didn’t have the money to borrow it. After looking for a circle of people, he couldn’t borrow it. In the script, there may be just these few sentences, and it takes ten seconds to read out, but Director Guan Hu has shot a long and exciting scene for more than ten minutes. Because of this episode, we followed Feng Xiaogang around Beijing, and found that in addition to Lao Liu, in every inconspicuous corner of Beijing, there are also a group of old cannons who have reached their twilight years just like Lao Liu. They, in the era of rapid advancement, were ruthlessly thrown into the dust, and no one cares anymore. But don't forget, they also have youth and blood, and they once responded to each other and dedicated themselves to some kind of stupid ideal of this country. This scene, on the surface, is about a idiot borrowing money to redeem his son, but here is more than just borrowing money? ! Guan Hu understood this, so he poured affection into every scene, found a bunch of old actors, and made every character live there. To be more specific, at the end of this paragraph, the sixth is looking for Yang Huo'er, which is the last way. What kind of grievances Yang Huo'er had with Lao Liu before, there is no time to talk about it, and it will become a TV series. How to shoot? The way Guan Hu chose was that before seeing Yang Huo'er, the sixth saw someone on the street trying to jump off a building. Why jumping off a building is not important, what he wants is an atmosphere of despair. Then, when Lao Liu saw Yang Huo’er, he obviously borrowed money, but he didn’t mention the money, so he first followed the path. The tension in this scene is here, so the two talk, Yang Huo'er walks back and forth, and then goes to the entrance, ready to get dressed and leave, and then goes to a hidden sliding door to get money. From the beginning to the end, Lao Liu has been sitting on the sofa by the back window, and this shot is saying that this character has nowhere to go. Then he said, Yang Huo'er, are you going to blow me away? I haven't finished a fucking cigarette yet. Then the two of them broke down, and Lao Liu got up and left. The camera followed and a corridor appeared, and Yang Huoer caught up. One of the brothers was at this end of the corridor, and the other was at the other end. Say the last few words - Lao Liu said, don't screw up the little bit of affection between the brothers. After this scene, the level of the play is clear, the characters promote the narrative, and the audience is firmly wrapped in it. In fact, at this point, there is no need to explain the history of the two. The audience understands in their hearts, and their emotions are slightly relieved. But in the next scene, the scene of jumping from the building was picked up outside. Someone was clamoring for people who jumped off the building to jump quickly. The sixth child was angry and said why don't you jump! This desperate atmosphere was suddenly broken, and it also produced a little comedy, and then the director actually wanted to express the deep helplessness in the heart when the characters faced a desperate situation. Then, Lao Liu scolded the onlookers for a while on behalf of the audience, then turned and left. At this time, he had to go back to the play again, so he finally fell overwhelmed and fell on the road, and he didn't forget to make another knife in the voiceover - this is a touch of porcelain, don't ignore him!
If the story doesn't talk about this, it won't impress the audience.
Simple words can make it clear that the sixth child found Yang Huo'er and couldn't open his mouth to borrow money. Out of anger, he had a heart attack and fell on the street. But in this way, the audience will not have much sense of immersion, and will not feel sorry for the fate of the characters. This is the movie, and it has to make such a big detour to bring the audience in - this is a technical job, Guo Jingming has never learned it, and Han Han has not learned it either. But Guan Hu has learned it, and the teachers of the sixth generation, Zheng Dongtian and Han Xiaolei, are especially good at playing this set.
So - does the director really need to learn? Do screenwriters really need to learn?
Still have to learn.
Especially today, when the market is so hot. It is even more necessary for practitioners to ponder carefully what is going on with the movie. How to impress the audience. Otherwise, everyone will be fooling around, thinking that they will try their best to add special effects, music, and stars to the movie, and then try their best to fool around, and the audience will buy it. Wrong, the audience will be fooled the first time, and they will not be there for the second time. The last two times, I'll throw you aside completely, so that you idiot won't even have a chance to turn over.
Having said that, I also have to come up with a couple of movie reviews, otherwise it seems that I have taken Guan Hu's money to brag for him.
The sixth generation is technically the best among Chinese filmmakers. But there are also their problems. It's just that their hearts are too tight, and it's hard to digest the film, so they can't handle normal human relations. This is also no way, generation after generation, until today, have not been able to save a person who can speak well. The core of "Lao Pao'er" is to deal with the emotions of father and son, but you can see that in the story Lao Liu and his son Xiaobo, the father and son's emotional handling is too weak! ! I really can't stand the scene where the two of them were drinking. What is the hatred between the two of them? The father got into a fight and couldn't take care of the family. The son resents the father, so the father and son turn against each other. This is on the surface, but what should be underneath? This has to pave the way. Others can be ignored, how can you bypass this P content? The two of them have gone from confrontation to harmony, just relying on this meal, can they really break it? I don't know what the original script was like. Anyway, it's unacceptable that it came out like this. After the fifth generation of Chinese directors, the father-son relationship has never been able to catch up with Ang Lee.
To put it more ruthlessly, if Feng Xiaogang hadn't acted in "Old Pao'er", the audience would have indigestion. . . . .
So, the road is long! Don't tell anyone else, just study hard yourself.
View more about Mr. Six reviews
