Regarding "Old Cannon", I didn't like it when I first watched it. Not only did I dislike it, but I also complained at the movie theater to my friend M who was watching the movie together. Later, when discussing this film with my little best friend S in Beijing, I fell into the abyss of torment (mistake). Probably because I think this film is a domestic shoddy film (it can't be called a bad film, because it is much better than a real bad film) and another representative of typological significance, and S thinks this film is "feeling".
Although I won the favor of my best friend (Keke) with my outstanding talent and intelligence, there is one argument that I hate: you are not from Beijing, you don't understand! If this line of thinking is accepted, most of the world's cross-regional discussions are meaningless. Hmph, people want to do cross-regional research, so don't agree with this point of view!
Moreover, I, as a Wuhan native, will be inexplicably excited when I see Hongshan Square and Jianghan Pass in "McDull Ring Dangdang", but if you want to seriously evaluate the film, you should be ashamed to use this as a basic argument.
In addition, the movie says "Beijing", but the reality is that the Middle East has the feelings of Dongcheng, and the Haidian District has the temper of Haidian District. We can't just believe what people say.
Oh, I'm a post-90s generation.
Although there are big differences between dialects and dialects, "Old Pao'er" reminds me of "Twenty Years of Underworld".
The two works have similar objects of remembrance - the gangsters who grew up during the "strike hard" period in the 1980s; similar themes - how the old gangsters face the new society under the market economy; emotions are also similar - Acura's lost gold Years, sing the praises of human nature. Even the names are the same - as soon as Li Yifeng appeared, I went to Xiaobo's "Uncle Red Soldier" and the hippie "Little Beijing" as a conditioned reflex.
The core difference between the two works is that the author of "Black" obviously has an almost nasty hobby for fighting and messing with the relationship between men and women (that's what supported me after reading four novels!), "Old" I want to follow the literary style and focus on the selling point of feelings.
That's what ruined the whole game.
It is also a series of films about young gangsters, "Young and Dangerous". The production is rough and the plot is poor, but it has the power to make people talk about it after many years. In addition to the handsome guys that we all like to see and hear about undressing and erotic violence, maybe it's because The film itself is empty, as empty as our imperious and pretentious junior high school years. "Young and Dangerous" doesn't actually promote or slander it, it's just performance. A single contradiction, a single narrative, a direct collision of body and emotion - simple and crude, a typical Hong Kong commercial film in the 1990s. It is not the quality of the film itself, but the emptiness itself that attracts us to blindly follow, then reflect, and even become a social phenomenon. At the time, this phenomenon may have symbolized the extreme degeneration of social morality, but after the upsurge faded, it aroused us to think more: Where did the generation of blind obedience come from? The proposition itself is full of sociological concerns.
In contrast to "Old Pao'er", behind the narrative flow is a strong sense of political correctness. The sixth master is absolutely politically correct (although he is self-righteous and doesn’t understand the education of his children), the third son is absolutely politically correct (although he has muscles and no brains ) Lampshade is absolutely political Correct (although not passionate about my job). If they are pretentious, they are "stressful"; if they are fooling around, they are also "benevolence and righteousness". On the other hand, look at the group of post-90s generation at the bottom right of the movie poster. They have no friends (Li Yifeng), rebellious (still Li Yifeng), messing with the relationship between men and women (are they targeting Li Yifeng), weak (little lip stud), hit-and-run (Kris Wu). Therefore, the main line of this film has become the human nature education of the "Old Pao'er" for the "little hooligan". Although the "reason" that the "Old Pao'er" keeps repeating, it is hard to say which ancestor was passed down, but its brilliant power The time is infinite, let the lip nail brother not call the police, the sixth master deliberately hurt (our post-90s little bastard likes to call the police after the incident, Kong Ergou said) Li Yifeng's prodigal son will not change his money, let the five rings and twelve young masters—ah No, it's the third ring—— Kris Wu also lowered his head arrogantly.
But what is the "reason" promoted by the director? Behind the sixth master cleaning up the city management, the lampshade was reminded many times, but he didn't apply for the permit; after so many years, he still brought a group of little brothers who "were not serious or heavy"; Friendship has become an emotional threat capital for brothers who want to drag their families to fight together. Before playing with "feelings", have you ever thought about what the connotation is?
Most of the brothers who hung out together had a bleak life. Have you ever wondered why?
Don't say it because you are Hutong residents. This is the reason that the director invented.
Perhaps the director does not want to "promote", but to "criticize". Criticizing this evil market economy era is also a feeling. However, this criticism seems naive and pitiful: whether it is the sixth master teaching the city management at the beginning, or the sixth master sending the report letter by registered mail at the end, it gives people the feeling that you are not Chinese, director, this is the basic national condition Haven't read it yet.
In addition, the object of your report may be an old gunman who didn't go in during the "strike hard".
As for the plot itself, the biggest flaw lies in the climax of the intertwining of contradictions, which ends with Liu Ye's long and performative death. It's not that Feng Xiaogang's acting is not good, but the author's handling method is of the same nature as "The Tomb Raiders" said "there are ghosts" when the mystery of the underground palace could not be solved, and then played the plot with a bottle of evil feelings. hooligan.
In general, this work is full of world-weary emotions about reality and simple yearning for a better past (simple is not a compliment word), the whole is an old-fashioned sigh and sadness left over from the Qing Dynasty. Although this emotion is a bit sad, it is more ridiculous. Liushen Leileijun compares the old guns to Ke Zhen'e, which I think is quite similar. Everyone gives you face, but no one likes to listen to your nagging. It's a bit cruel to say that, but the act of virtualizing feelings and selling them for money is too abhorrent. Can't help but scold.
And the act of beautifying the not-so-good past out of hatred of the present is not commendable, not to mention that the past is not far away from us, and historical memory is still warm.
So it's no wonder that Feng Xiaogang's tragic struggle and fall at the end of the film is just as comical as a tiresome long joke.
I have scolded a lot. If I want to say praise, first of all, dialect movies are really worthy of praise. However, in terms of the reconciliation of dialect and Mandarin, Xiao Tao Hong in Brave New World has given us an excellent example. Anyway, I want to pay tribute to these excellent actors. You are not selling a face, but a sincere heart.
In the end, Zhang Hanyu's muscle patch completely lost my confidence in the honesty of this world.
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