Yueguang film review

Obviously, it's a pair of A Chinese Odyssey. Why do you have to wear a pair of tight pants from Red Cliff? Now that we have crossed it, why not be creative? There are a lot of second-and third-line stars and out-of-date stars. Very lively, but where is the story? It is not a fake bird's nest and lighting ceremony that follows the trend, nor is it a criticism of the times to avoid "three dozen milk powders". People are talkative when people file out, but which line can the audience remember? All kinds of people rushed out. This is not a movie, this is a board game.

However, board games are also technical, at least each card has a distinct personality. However, what about the box of light?

A shanzhai Three Kingdoms Kill

Xiahou is not strong at all. Liu Bei's benevolence is only aimed at his concubine. Cao Cao's adulterer became a hobby of transvestite. Zhang Fei's roar was originally a kiss of love, and Guan Yu's martial artist became a trick to read pornographic books. Zhou Yu doesn't contradict, Zhuge doesn't look at the stars. Instead, he performed a fake rock show and a public fight on the altar. As for Zhao Yun, he can neither flash nor kill. He can see his sister-in-law's cleavage, but he can't see who the owner is.

Each character's personality characteristics belong to the shanzhai or shanzhai, so the movie becomes the shanzhai Three Kingdoms Kill.

Many subtleties of nonsense lie in the word "parody", but it is a double-edged sword. If the spoof is not in place, people will inevitably use online words to accuse it of being a cottage. Parody is by no means a cottage. An increase of one point is false, and a decrease of one point is inferior. If you do well, you will be popular; if you do badly, you will be vulgar. As the three pillars of Wulitou, Mr. Ji An once pushed Master Xing to let Wulitou tide sweep across China, but the box appeared as if Mr. Ji An had written an epitaph for Wulitou himself-Wulitou died.

The theme of A Chinese Odyssey keeps repeating.

In retrospect, Mr. Ji 'an's Liu Wulitou actually died long ago, at the climax-yes, it was the movie A Chinese Odyssey. As soon as A Chinese Odyssey came out, "fatalistic love fell from the sky+women's stubborn beating+men's dare not accept+men's last confession" became an irrefutable formula of technical security, and the following "Emotional Sage", "A Chinese Odyssey" and "The Box of Light" were all carved out of this mold; Metallic Attraction Kungfu Cyborg is slightly different, but nothing more than an ungrateful man turned into a sad woman, a ghostly fantasy turned into a fake science fiction, and the motif of a Chinese Odyssey is repeated in his bones.

There is nothing wrong with repeating. Zuo Xiao cursed: "Repetition is power." Love is an eternal proposition in human literature. Giambi is obsessed with women's infatuation and men's ingratitude, which is also in line with the realistic interpretation of most love stories. However, it is not the person with ID card who can express this proposition in an absurd and humorous way. "A Chinese Odyssey" describes the ins and outs of a love story in more than three hours from crazy spoof to tears. Only such a structure can achieve the effect of changing everything from steel to soft fingers. However, A Chinese Odyssey obviously doesn't conform to the rules of the film industry (in terms of film length, only Red Cliff can be divided into two China films in recent years, and the box office is also crazy. I don't know if this is the reason why Ji An made fun of "Red Cliff"), which is a classic by mistake. If it weren't for the online hype of Peking University students for many years (and of course the unique acting skills of Xingye), "A Chinese Odyssey"

Don't mention it again.

Yue Guang Bao Box is too hasty to make people laugh, not to mention moved? For the audience, a movie is like a dish. The ingredients in the dish are the main ingredients, and gimmicks are nothing more than condiments. Looking back on A Chinese Odyssey, which funny plot is not closely related to the evolution of the main story? Looking at "Going East and Going West", which star actor didn't undertake the indispensable drama function? On the other hand, Yue Guangbao's box has obviously put the cart before the horse. The spoof of the credits at the end of the film and the cosplay of the behind-the-scenes staff seem to confirm Giambi's old Lian Po. Just copying other people's things. I've never seen a movie that plagiarized my work so hard. The words "Bodhi's works by Bodhi's ancestors" on the screen can only make people nostalgic.

But then again, it's not just Giambi, it's us. The young boy who watched "A Chinese Odyssey" in those days has now become a humble houseslave. There are no dark clouds in the sky, but the K-line chart is covered with dark clouds. As a result, those romantic repetitions about love have really become the past tense.

Looking at the current China film industry, Huang Baiming's "Happy Family" series has become an out-and-out tragedy, while Jing Wong has only "zero dog" shit left. Master Xing used "Changjiang No.7" to tell us that he is actually just an actor.

Finally, in an era without irony, Yue Guang Box clearly declared Wulitou dead to the world.

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(Published in Oriental Morning Post 20 10, March 18)

Teacher P.S. Gian's insistence on Gillian deserves respect. Hong Kong filmmakers not only save Hong Kong female artists, but also save mainland ones, such as crossing Hennessy.

Page (abbreviation of page) Ji An and Xing Ye are complementary. From the perspective of "author theory", "A Chinese Odyssey" certainly belongs to Ji An, a screenwriter and director. How did it become Stephen Chow's work? This is an interesting misunderstanding. There is no doubt about Master Xing's acting skills, but without the support of heroes behind the scenes, such as Ji An, Jing Wong, Li Lichi and Gu Dezhao, it is difficult for Master Xing to reproduce his brilliance. Compared with Xingye, Giambi's Zheng Zhongji is only a stopgap measure. As for the actress, Sun Li is totally out of tune, but Asa has a good temperament (hell, she seems to have just broken up with Master Zheng).

The rise and fall of P.P.S.S nonsense is a problem between two places: the mainland and Hong Kong; Producers and recipients.

Wulitou in movies, as Cantonese slang, refers to an extremely parody and unconventional comedy form represented by Stephen Chow's performance. In fact, it is not unusual to put nonsense in the history of western art films. The so-called farce can actually be regarded as a meaningless type identification; Far away, modern Hollywood gold? Many of Kelly's comedies are boring. In the context of Hong Kong movies, nonsense should be originated from the comedy of Xu Shi brothers. Previously, Shaw films were still struggling with the confusion of Hong Kong identity. However, Xu Guanwen's talent in The Great Warlord eventually led to the birth of Ghost Horse and Binary Star. After the polishing of films such as "Half a catty", the comedy of the Hsu brothers finally took the lead in Hong Kong movies. Hong Kong citizens are enjoying a prosperous "isolated island" life in the crevice of the Cold War (here we borrowed the term 1937 ~ 194 1 Shanghai Concession movies in the history of China movies-in fact, these two "isolated islands" are quite comparable from the perspective of cultural ecology), full of warmth and desire. Of course, Hong Kong people need the grass-roots carnival provided by movies. Hong Kong film critics put it more clearly than I did: "Hong Kong people regard him as a nephew. He is the most successful elite born in Hong Kong. He is neither from Guangzhou nor from China. They are really in this borrowed place. They are the sons of Hong Kong who represent the new generation of Hong Kong culture. " (1)-As a result, the style of nonsense appeared, and Stephen Chow was only the logical result of this cultural logic (of course, you can also think that Zhou Wulitou completely buried Xu Shi's comedy aesthetically). In fact, spoofing and parodying Stephen Chow's movies are all old routines in the works of Xu Shi brothers, but at that time, the mainland was closed and there was no video hall and cam- channel, so Xu Shi brothers would not be known to the mainland audience; Secondly, its Hong Kong flavor is too strong, which is naturally limited to the spread of Cantonese culture.

The rise of nonsense movies in the 1960s and 1990s must be considered in the whole cultural circle of China. The reform and opening up brought about large-scale cultural exchanges between China and Chinese mainland, and the turmoil in the late 1960s finally led to a change in ideology-Deng Gong established a market economy system after its southern tour in 1992. Perhaps we can use "depoliticized politics" to describe China society and ideology at this time. (2) "Everything is for money" (centered on economic construction) has become a panacea for integrating the broken social body, and the ensuing wave of consumerism is obviously also a catalyst for nonsense-nonsense people, who lead a drunken life (nonsense deconstruction seems to be dealing with the castration expression of politics). The painful transition from 1989 to 1992 also caused the collective disillusionment of Hong Kong people. At the same time, with the approach of 1997, the "regression anxiety syndrome" also appeared, so the combination of the two was meaningless and finally reached a climax-the deconstruction plot that seemed to forget one's ancestors and the crazy performance of Master Xing were excellent manifestations of his artistic style.

Wulitou's righting in Chinese mainland stems from the youth film subculture rising on the basis of network culture, and A Chinese Odyssey is its landmark event. This incident is typical of "misreading". When Master Xing was invited to the campus of Peking University as a god, his aphasia made the favored children suddenly discover that this was not the supreme treasure in their minds at all. There are many reasons for this misunderstanding. For the young people of that era, they are the "one-child generation" who have been stigmatized for a long time (since then, "post-80 s" has begun to replace this title). By misreading A Chinese Odyssey, young people began to try to establish their own outlook on life-considering that consumerism has destroyed China's traditional ideology, this effort is actually tragic. For young movie audiences in Chinese mainland, the nonsense Hong Kong carnival is a faithful adherence to love-the inner purpose is not subverted, but the expression is different from that of their parents. I have always believed that the deconstruction of nonsense is a playful breakthrough in a very shallow way of discourse, and never involves the connotation of intention (of course, the so-called "deconstruction" is also a misunderstanding, and Master Xing bluntly does not understand what "deconstruction" and "postmodernism" are). From the perspective of value, Wulitou even tends to be culturally conservative (Wulitou rarely goes beyond traditional Confucian ethics). A Chinese odyssey mocked the patriarchy, but the Supreme Treasure eventually followed the Tang Priest all the way. In fact, there is every reason to regard this nonsense ridicule of patriarchy as a helpless expression of the soul-consumerism can not completely fill the spiritual emptiness of a generation after all. If you live a resigned life in another way, it is also an emotional resource necessary for young people who have accepted the universal concept of the West to live in China. The so-called money worship is actually a false concept. If we really want to worship "gold" as a god, there will be no value crisis. The key point is that money is only a stopgap measure.1The problems in the late 1980s have not been solved, but only temporarily covered up. Wang Fuzhi has a saying: "Those who apply to go to Korea at the top must be old Buddhas at the bottom", and it is meaningless to find a corner of true love and soul in the wild.

In short, when A Chinese Odyssey was heated up, just as young people were about to step into a worthless society, many anxieties eventually prompted Wulitou to become chicken soup for their souls. After abandoning the revolutionary values of their parents in the 1970s and 1980s, Wulitou naturally appeared black and pink. First of all, Wulitou had an appearance that seemed to be rejected by its predecessors, which conformed to the rebellious temperament of young people, thus satisfying them. Secondly, nonsense still leads to the deepest part of China's traditional ethics. In the tide of consumerism, this is the spiritual backbone that can't be abandoned in any case (there are always comedies before the drama comes on stage, so the rise of nonsense is a precursor to the "fever of Chinese studies"). Master Xing sighed in Tang Bohu's "Chou-heung": "Others laugh at me too much, and I can't see through others." Doesn't it make the young audience feel sad?

But after entering the new century, China's cultural ecology has been upgraded. Look at the stage performances of Degang Guo and Zhou Libo. Nonsense banter, too superficial and far from real life, can no longer arouse the appetite of mainland audiences (of course, nonsense is also trying to go north, but it turns out that it is not very successful-the pseudo-migrant workers created by Star Master No.7 of the Yangtze River are typical counterexamples), and the so-called spoof means have long lost its unconventional appeal.