Jiang Wen: Give me a fucking translation. What the fuck is a surprise?

Pick up some film reviews and see how other great gods answered ~ 1. Source: Sina Weibo Dance Xiaowu Sketch. In fact, I haven't digested the film as a whole, and it gives me the feeling of being scattered. First of all, Jiang Wen is still this Jiang Wen. He has never been Xiaogang Feng, so if you watch One Step Away with the mentality of watching entertainment movies at the end of the year, then you are doomed to be disappointed. Four years ago, "Let the Bullets Fly" was an atypical Jiang Wen movie, which made many viewers say they couldn't understand it. In fact, this is what Jiang Wen has always done. Don't understand? When you go to see his other film The Sun Also Rises, you will understand what is incomprehensible. Of course, I must say, One Step Away is a good movie! The so-called good movies are not distinguished by incomprehensible and understandable, nor by whether they are funny or not. Jiang Wen has been trying to show himself. This kind of hard work usually gives a strange illusion. On the one hand, it is our own efforts, on the other hand, we have to bypass the exam, so the final result of this effort is all kinds of metaphors. The biggest highlight of the opening is the article, and the monologue of "getting the face of Shanghainese back" for a few minutes is very skillful! I have to say, despite the criticism of private life, the article is really one of the best actors in China at his age! The election of Huayu's president made some film critics say it was a talent show-damn it! This film critic should be laid off! This is clearly a naked political metaphor. Hong Yan participated in the "presidential" election, pushing hands, putting on a show, appealing and donating money, and packaged himself as a selfless saint, which was cheered and worshipped by people ... Then what? Hong Yan is immersed in his own packaging image. What did Mazuori say? "She really thought she was ..." She got lost and died ... got it? How did Hong Yan die? In the end, I didn't say anything ... that's right! I can't say, I can't say! How did a great and selfless saint "Fuehrer" die? Mentally, mentally, completely dead, disappeared ... how? I wonder who can tell. This is not a fucking political metaphor, then what is a political metaphor? Love? Bullshit love! This is not love at all! In fact, Ma Liusun and he are one, and these two roles are actually a symbol! The front and back of the symbol are like coins. Then, tails kill heads. How did you kill him? How did you die? No need to explain! Who is Xiang? Is it one? At first, he gave this coin as a trophy, and later he wanted to kill this silver coin completely! The dead head is not enough! And kill its opposite! Why kill people? Very clear-"for the people!" What's popular? This is bullshit! Without justice, everyone is clamoring to do it, that's all! Remember the extradition when the horse left? We made history, and we are a part of it! Ha ha ha ha ha ha! Great! This part! In the face of foreigners, the masses held slogans, China people's business is China people's own business! It seems to be cheering and inspiring. Yes, I thought I was the owner of my own house. I thought I defeated foreigners ... but what about reality? This so-called popular support is still in the hands of a few people: like, Chu Dashuai, Qin teacher ... the masses, the masses don't know shit! This is what Jiang Wen told us-when the dancers compete, everyone is laughing and clapping. When Ma Zuori was wronged, the audience in Wang Theater were laughing! The audience were laughing at the horse dodging the knife and cutting at the king. Ruthless ... ha ha ha ha ha! Ok, let's go back and think about the joke that Lafayette cut his braid. The joke was told again at last! Was this horse crazy before going to Japan? No, this is what Jiang Wen told us! I cut it myself. Can it be the same as others forced me to cut it? Ha ha ha ha ha! Can it be the same? Jiang Wen, only Jiang Wen in China can make such a great movie! ! Is this a comedy? Of course it is! The core of great comedy is tragedy. I was sitting in the seat of the cinema when Wang sang the adaptation of the singer in the theater. It's horrible! What did the dialogue say ... Act well and be a good person. Ha ha ha ha ha ha ha! ! You did a good job. ..... no matter how many people understand this movie, or don't understand it, or how many ways to understand it. At least Jiang Wen is doing it. What is a bad film? It's not that you understand, it's not that it's funny. I just saw Xia say a word, if everyone works together to kill this kind of movie one step away, don't complain that the screen will be full of such bad movies as Tiny Times in the future! This is a good movie! Finally, my only complaint is Mr. Jiang Wen, why is this movie IMAX3D? Is it to collect money and recover the investment? I'm depressed. 2D is enough! 2. can't you read it one step away? Look at this source: Tencent Entertainment feature (text/ferry planning/three substitutions) just came out of the screening of "One Step away", and reporters and cameras waiting for him rushed up: "Do you understand?" "What don't understand this? Very nice, I like it! " The reporter's expression was obviously disappointed, but he quickly regained his vitality and jumped on other rabbits. My answer is also redundant, because people don't seem to ask if it looks good or not. Watching movies like this makes me very confused. "You can say you don't understand, but you can't say you didn't see it!" -As early as in The Sun Also Rises, Jiang Wen shouted to the audience with Zhou Yun's lines: Is it really more important to understand a movie than to watch it? Why are Jiang Wen's movies so good? Jiang Wen's movies belong to that kind of good-looking movies first. To put it bluntly, it is the so-called "attractive movie": compared with how smooth and coherent the time-space transition is, how consistent and coherent the narrative logic is, and the visibility of every scene, every shot and every picture is given higher priority. For example, the song-and-dance competition between Lu Qing and Baihu, not to mention "La Traviata" and "Toast Song" sung by Wu Dashuai and Wu Liu's father and daughter, was relatively divorced from the story itself in length, and was amplified into a dazzling independent performance-this is the attraction, not to mention that musicals consciously rely on the formal elements of "One Step Away", which inherently requires the transcendence and promotion of the plot itself. Secondly, Jiang Wen's films are, in the final analysis, feature films, not news documentaries, and there is no need to put the ins and outs of an event one by one. If it is a feature film, it allows fiction, and it allows all kinds of crossing, regression, distribution and deployment of truth and fiction. What makes Jiang Wen slightly different is that he shows the audience that truth and fiction can blend with each other. In fact, what Jiang Wen did in his films was straightforward and simple. Whether it's Shakespeare's Tobeornottobe or Cao Xueqin's When It's Fake, It's Real, It's Fake, it's also Jiang Wen's accurate translation: "Is it this way or that way"-whether a movie is shot this way or that way, or even whether it's so funny or not-this is the freedom that the movie gives us, and a good movie carries it. Finally, Jiang Wen's films since The Sun Also Rises have a feature that they are closer to the legendary "educational films". For example, Christopher Nolan's famous movie Memento is a typical "puzzle movie", and there are traces of such movies in Inception. The so-called puzzle does not lie in how complicated a puzzle is set in the film and then the truth is revealed at the end, and it is revealed as the only answer-of course, this is an integral part of the puzzle movie, but it is not all or fundamental. Puzzle movies don't need a practical and fixed answer. The key is to leave the guessing process and fun to the audience. Inception's last suspense is: Did DiCaprio return to reality and his children, or did he stay in his dream forever like a ghost prison? In fact, there is no definite answer, because the gyro is in the hands of the audience after all, no matter how it turns, it doesn't matter whether it is right or wrong. Jiang Wen's movie is an invitation letter. The game puzzle that invites the audience to join the movie is not a test paper (to test the audience's IQ, whether it is really boring to understand which plot point, etc.), but an invitation letter, inviting the audience to join the movie game itself and the freedom of imagination itself. At the press conference after The Sun Also Rises, some media friends asked Jiang Wen for proof: "The Fang Zuming you shot and killed in the story is actually your own son! Is that so? " Of course, Jiang Wen is good at pleasing the audience: "Yes, that's what you said!" -but this doesn't mean that this understanding is the standard answer, let alone the only answer, because after Jiang Wen pulled the trigger, what we saw on the movie screen was only the animation effect of the gun popping out of the gun chamber, but we didn't see Fang Zuming or anyone being shot to the ground at all (just like Inception's top would eventually fall off), and the movie entered the last story. The interesting thing about Jiang Wen's films is here. He deliberately left many gaps and cracks in the film, the coordination of plot, video, sound and painting, and so on. Interwoven, contradictory and inconsistent plot points are everywhere, and there are too many folds that can't be smoothed out, turning the whole story into a "garden with intersecting paths", which will really make people feel complicated and chaotic, but it will also make people linger. Importantly, through these gaps and cracks, he left a fully open space for the audience, providing a variety of different acceptance paths and entrances. No matter what kind of interpretation (even "over-interpretation"), it depends on the wishes of the audience. The director is only the architect of this garden and this mirror maze. As for what kind of flower-shaped road map tourists can walk out of, architects can neither be responsible nor have the right to demand it. Give a few examples. In the scene of Hong Huang and Zhou Yun, there are two kinds of relationships between mother and daughter: one is teacher Qin and Wu Liu, a handsome student of Wuhan University, and there is nothing to talk about; First, Teacher Qin gave birth to Wu Liu with the first three men (or the first thirty-nine men), and then took her to marry Wu Dashuai. This latter understanding can also be found in Hong Huang's lines: In order to find a good father for Zhou Yun, she can only choose to give up her life and find a reliable man. -These two understandings are naturally established. From the conversation between Teacher Qin and Wu Liu, we didn't hear anything unreasonable. There is no misunderstanding or misunderstanding because of any serious injury. On the contrary, in the context of the mother-daughter dialogue in this drama, all positive solutions are misunderstandings, and vice versa. Also, how did Xiang and Wuqi finally get married? Did Ge You and the two characters in the article kill people out of love, not cause the horse to die? In Let the Bullets Fly, Jiang Wen has already acted once. He arranged for Ge You to play Bao Wen and said to Zhang, "Do you want to kill me or sleep with me?" This time, his interest was even higher. Wuqi was masturbating when he called Xiang (did the censorship department not see it or acquiesced? ), and close-up Ge You touching the phone line is a meaning. As for their last wedding red carpet, it was a dream scene. Against the backdrop of the Moulin Rouge and the golden sunshine, Mazuori's prison uniform seems to have become a hospital gown, as if all the men and women in a mental hospital were attending a grand collective wedding. When the hero is dying, and the illusion moment when the whole movie is about to end, anything is possible. For another example, what did the horse do in the palace of the former Qing Dynasty? He's not a eunuch, is he? Indeed, he turned down Hong Yan's invitation many times. Is it different from Wang Xueyin's rejection of big S in Sword Rain? Anyway, in the past two years, there have been eunuchs making trouble in China films, especially in costume films and time dramas. It is also true that Comrade Jiang Wen ousted others. Moreover, Rainbow Wen Zhi and Jiang Wen in that scene are "no eggs" in Shanghai dialect (in Shanghai dialect, Suzhou dialect and Wuxi dialect, men are spineless, useless and incompetent), and there are several such hints. However, from another angle, why can't Ma leave the sky to be the head of the Empress Dowager Lafayette? Isn't he pressed on the kang by the old lady Cixi? Who can guarantee that they have done nothing but hinge braids? Moreover, it should be noted that the "king of kings" ridiculed the horse as "without eggs", which was said when performing a civilized drama; Ma first talked about his "The Past in Beijing", and it was also at the beginning of the film that he said that he would pay tribute to or parody "The Godfather". In other words, whether Mazuori is a eunuch or a leader is always presented to the audience in a performance scene. How many real elements, fiction and geometry it has, these are all controversial. The core of One Step Away is the division between "truth" and "fiction". Not only are these plot points like this, but the whole story brought to the audience by this film is like this. You can't really tell where the real events as the blueprint of the story end and where the director begins to exert his imagination and creativity. Among all kinds of post-modern collage, parody, tribute to predecessors and classic movies, One Step Away has a basic support, that is 1920, which caused a sensation in Shanghai, and the movie drama published in 192 1 year. However, Yan's case provided Jiang Wen with more than a prototype story. He keenly grasped the biggest selling point of the film Yan that year, that is, he declared that the truth was true and everything was true. At that time, Yan's friend and colleague Chen Shouzhi organized the China Film Research Association and saved a group of people to shoot this film. Not only does Chen Shouzhi, whose figure and posture are similar to Yan's, play the leading role, but also an ex-prostitute is invited to perform the murder. Even during the filming and the subsequent premiere, Yan's special car was sent to "show up"-all these arrangements are just one of them. In the scene of "One Step Away", the heavenly king who dominates the stage of civilized drama and Wu Liu who wants to be "Lumiere of China" (but may be closer to Rennie Riventhal) are both talking about "truth": "If he really kills someone, he must be shot." Unfortunately, no one can give an accurate score and a final decision on the last two things. Not only did Hong Yanying, played by Shu Qi, die in an unknown way (whether Ma Zuori was "asleep" or "covered in scars" after his amnesia, and the rendering of the civilized drama has become blurred), but whether Ma Zuori finally died or flew away with the bullets (we only heard the gunshots in the soundtrack, but didn't see the blood on his body after being shot) also became a big question. If in the first half of Shu Qi's play, opium and marijuana led to death, then in the end, in Jiang Wen's movie, it was death itself that became the last hallucinogen of the film. Whether a movie is good-looking or fun depends on its ability to bring realistic elements into imagination. For Jiang Wen, the film is really a dream. The boundary between reality and fiction is very confusing, and all his intentions are in that line itself. In this sense, "One Step Away" is also a Inception, a layered structure with various dreams intertwined, a play in a play, a play in a play. Especially at the beginning and end of The Train, he completed a big dream about Ma Zuori's confrontation with Wu Liu, as if he had walked out of the accident and the idea that caused thousands of deaths, and directly fell into endless yearning for the woman he really loved. After all, Jiang Wen also has the heart of leaking secrets. The only constant in the whole film is Song of Solvig, which sings a woman's waiting, with the same original intention. It's just that the horse still doesn't want to sit still. He would rather let himself fall or soar in a place within reach, only one step away, that is, the distance between reality and imagination, truth and fiction. 3. Stripping Jiang Wen's natural pride and restoring the real step: Ma will leave her grandson, and now we dare not say that she is not good. Source: Douban: Jiao's "One Step Away" first talks about why the title starts like this. There are three possibilities. A man and two men are called Ma and Xiang respectively. Anyone who knows a little about chess knows that in the same chess game, the horse takes one step less than the item, and the two of them are doing analogies. In the end, they are really different, just one step away. Chess players can only be traitors in the French Concession, and there are no traitors in the "Chinese world". On the second day of May 6th's trip with Ma, Ma recalled that if May 6th didn't kick two legs, even if he left one, he would still be able to film with her instead of getting off the bus halfway and going this way. In the third interpretation of the title of the third film, Ma once offered a plan to Lafayette: To save me, I only need to cut the pigtails at the back of my head in one step, and then the horse trotted all the way, sobering up with wine: Republic of China. What is the difference? Braids were cut in the Qing Dynasty, and braids were cut in the Republic of China. The same is the heart, but the gap is big. Jiang Wen sent Hong Yan to Zhong Saner's home where he bought Marriage (Zhongshan, please bring your own accent), or did someone else buy Zhong Saner (wasn't it called Zhongshan in the Republic of China? Someone else gave it to you? It happened? Political legacy? ) Then the metaphor and the beauty of the "president" (political assets) were "destroyed", and then everyone wanted to "Northern Expedition"! Please pay attention to why the place where the horse fled to Japan by car looks like the traditional building of Fujian tulou, which belongs to Shanghai. Choosing such a place is a landmark. Ma Zou Rijue is "Yuan Shikai", and then the major warlords are the representatives of the prince in this film, and also the representatives of the Belarusian alliance (not the interest support of the major international forces in China in the later period of warlords, remember the Japanese-German Latin spoken at the dinner table? ), the only thing I don't understand and feel far-fetched is that May 6th represents our party? The horse finally jumped down on the day he left and said, I don't know if it will be okay after May 6th. I want to tell Ma: May 6th, it's good. . . May 6th (5+6= 1 1 National Day) May 7th (5+7= 12) The first year of the Republic of China 19 12. Secondly, the "spoiler" can basically be summarized in simple chess terms: the first shot (choosing a head to "soak" a beautiful woman), the Malay jump (the horse leaves the sky to hold a beauty contest), and the car immediately (the horse leaves the sky and has a "car accident"), which means that the horse leaves the sky to help himself, but saves the item first), and it is necessary to get out of the queue (army, army, army, army). Let's talk about the film itself first, and borrow lines: the film is the art of watching and understanding. So for many people after the premiere, the word-of-mouth summary is: I don't understand. Well, if everyone is talking about something else after watching a movie, the spoiler is fine, which means everyone doesn't "understand" Understanding is like telling something, who the murderer is, who he finally loved, and so on. And it's interesting to understand the stories told by people who have seen them. Just like the opening of TOBEORNOTTOBE's classic, just like reading a work, everyone's Hamlet is one step away, but I don't think it is necessary to argue whether it can be understood. And understanding is divided into not knowing whether you understand, feeling that you understand, but feeling that you understand like this. Besides, I don't understand. As Jiang Wen said, film is an understandable art. First of all, One Step Away is not a film, but a conspiracy of film packaging. Then what do I "understand"? Mainly in Xiang (law, representing the face of the government), Wang Tianwang (director, representing how to guide ideology and word of mouth), Wu Qi (the chaebol behind the government, the kind who wants to launder money) and Wu Qi (the political consultative conference, the moral high point of reformists), the gathering of these groups determines anyone's life and death, which is the "two legs can rewrite history" in the play. Just as they want Mazuori to deliberately perform a "return to the scene", it is equivalent to admitting that he is the murderer, and then they can let him go. Finally, the movie said that in the future, it is not called choosing a champion, but a champion and a golden rooster award. Ah, ha, ha, ha. Let's talk about Miss Prairie Hero released by 1964, and later won a Golden Rooster Award. The story of the film goes like this: After three years of natural disasters, Long Mei and Yu Rong were caught in a snowstorm while herding sheep for the production team. In order to save the collective property, they eventually suffered from frostbite and amputation. The real story is: two young sisters herded sheep in a snowstorm, and were finally rescued by local people who were labeled as "Rightists", and were changed into prize-winning types according to political needs. This is one step short of my understanding. People are always one step away from the truth. Kneel for the great god above ~ ~ \ (≧▽≦)/~ Lalala transferred from Su Nian, Zhihu.