What does Xiebuyazheng want to express?

What I want to express about "Xie Bu Ya Zheng" is as follows:

The film's timeline is stuck a few months before the July 7th Incident. Li Tianran, played by Peng Yuyan, holds the mission of the organization. He returned to Peiping from the United States due to his own hatred of the enemy. He narrowly escaped from the fire that year and underwent rigorous training, possessing martial arts skills.

The narrative focus of the film is actually centered on the third male lead, Lan Qingfeng, played by Jiang Wen. He was a participant in the Revolution of 1911 and a famous rich man in Peiping, and the police chief. , Li Tianran's enemy Zhu Qianlong has a close friendship. He secretly arranged various people, and actually wanted to rescue General Zhang Zizhong, but as the situation developed, he became lost in the whirlpool.

In the final analysis, what "The Evil Will Not Suppress the Right" wants to talk about is the Peiping that cannot go back. In Peiping during the Beiyang warlords' melee, the chivalrous and bravery, the grievances and grudges of the sword and the shadow of the sword were entangled with each other and the complicated political struggle situation. All love and hatred were involved in the tide of history, wrapping up the special style and style of the Beiyang period. Humanistic style.

Most of these endless reveries about Peking are based on Zhang Beihai's novel "Xia Yin". Before watching this movie, I also made a special trip to find this book to read. The relationship between "The Evil Will Not Suppress the Right" and "Xia Yin" can be said to be big or small.

In "Xia Yin", Zhang Beihai, who spent his childhood in Peiping, felt infinite nostalgia and sorrow for the old Peiping who passed away. This novel uses Peking in 1936-1937 as the storyboard. Although the main plot is just what is usually seen in martial arts novels. Several people in Beijing set up a series of plots around revenge and the upcoming war, but the inner plot is... It attempts to trace the traces of ordinary people's lives at that time.

Walking through the streets and alleys in a realistic and lyrical style, looking back at the dream Peking that exists in the imagination, is the focus behind this work. Although the theme of "The Evil Cannot Suppress the Right" has the same theme, the performance is different. It is conceivable that Jiang Wen changed it drastically, making it more "direct and brutal", more "irrelevant to common sense", and more "weird and fantastic". These words are put in quotation marks here because they are not derogatory. I want to talk more about the intuitively obvious differences between movies and novels.

For Jiang Wen, in order to visualize this novel and rejuvenate Peiping, which has become a thing of the past, it must be reconstructed with a more innocent and romantic way of thinking, and the plot needs to be dealt with There are more whims and unbridled ideas. The old traditions and the contemporary changes brought about by the war: cheongsam and dress, the market and the arena, the ordinary and the legendary, all merge into one, thus arousing a strong sense of contrast and attraction.

Jiang Wen does not stop at telling a complete revenge story. What he really needs is to make this concise and down-to-earth story complex and ethereal while satisfying the grudges. From a marketing perspective, "The Righteous One" is indeed a highly complete movie in terms of genre. It has all the elements that an action movie should have, including gun battles, hand-to-hand combat, chases, conspiracy, and erotica. Didn't fall.

But at the same time, it is actually an anti-genre film under the guise of a genre film, and it is quite "Jiang Wen" in temperament - absurd, freehand, and a lot of things that do not exist in real situations. The dark humor and farce-like presentation fill every corner of the movie.

The most innocent scene in the film is when Li Tianran rides a bicycle on top of the walls and eaves to find the tailor Guan Qiaohong, played by Zhou Yun. Seen from this angle, Peiping seems to be a city that can be connected together. Everything is like an everyday scene, only flying over the eaves and walking over the walls can give it a romantic movement. Not only that, the behavioral logic and personality traits of the characters also carry a sense of stalemate and symbolic "unreality", drifting between reality and surreality.

Characters in Jiang Wen’s movies have always behaved like this, as if they were drunk. They live in an era where the old and the new alternate, full of imagination about the future and mania and uneasiness about reality, so they will make extreme actions at nodes. Tang Fengyi's bare buttocks stamping and Li Tianran's bare buttocks flying across the roof both bring a wonderful sense of innocence to the film in an atmosphere of erotic mischief.

Even the villains with the most heinous crimes have a side that makes the audience confused. Whether it is Zhu Qianlong or Neichiro, they even said words that seemed to be a joke before they died.

In fact, many of these main characters have prototypes in reality.

For example, the tailor Guan Qiaohong refers to Shi Jianqiao, the woman who assassinated Sun Chuanfangqi. She waited for ten years for revenge; the prototype of Lan Qingfeng is Zhang Sijia's grandfather Zhang Ziqi, a more complex historical figure (Feng Yuxiang was appointed inspector since 1933 Director of the Diplomatic Office of the Allied Forces Against Japanese Aggression).

Starting from the life stories of these prototypes, combined with Jiang Wen’s film style and the above-mentioned theme discussion, the answer to the mystery of "The Evil Will Not Suppress the Right" can be easily solved. It is the four characters of the title, and the takeaway: Such is life. To sum it up in one sentence, "The Evil Will Not Suppress the Good" is not as hot and fierce as "Let the Bullets Fly", nor is it as wanton as "One Step Away". It is between the two extremes, but it is the work in the Beiyang Trilogy that is closest to the "storm is about to come and the wind is full" temperament of that era. It ends with this, which is an expected result for both Jiang Wen and the audience.