Confucius' wonderful comments on this film.

The film Confucius was directed by Hu Mei, starring Chow Yun Fat, Chen Jianbin, Zhou Xun, Lu Yi, Yao Lu and Ren Quan. The following is my excellent comment on the film Confucius, which I recommend to you. I hope you will learn something.

Confucius' wonderful comments on the film-When Confucius looked up at the sky and overlooked the earth, his followers appeared, first the most ferromagnetic Yan Hui, then a bunch of familiar heads shook and faces emerged, and a group of people got together again in the dusty field. See here, the ear naturally sounded the melody of a song:

I hope you will remember.

Always remember

We used to have

Recent days

We pursue our ideals.

have gone through all kinds of hardships and difficulties

We used to cry

Laugh together.

.......

Actually, I feel a little touched. As if this song was written for him. Or, write to all idealists. Confucius was the first idealist in China.

"Confucius" is not as bad as the legend, especially in his later years. Fage's performance is closer to the imaginary Confucius. The death of Yan Hui is too bloody and too main melody, which is neither in line with the physical laws (everyone is surrounded by ice caves when breaking the ice, and it will definitely collapse) nor in line with Confucius' thought (if the teacher asks you to come up, you have to come up, so how can you not obey? )。 Maybe the expectation is too low, so I feel quite surprised. I thought it was Confucius again at 9: 30. Maybe half of them were not satisfied, so they gambled and lost again. When I saw someone sitting in the front row, I knew I had lost again. After watching Wind, I said that I would never go to the cinema to watch domestic movies again, and this time was no exception, because I used a complimentary ticket from my friend. I maliciously infer that many people get complimentary tickets, and they are all full.

Confucius, Jesus of China, is the source of our faith-don't say you have no faith. Everyone who was born in China and grew up in China grew up believing in Confucianism. It doesn't have a church or a well-known book like the Bible, but it is in the blood of several generations, and it is the DNA of China people. Confucianism has as great an influence on us as the Bible has on Americans. They have been influenced since childhood. Our ethics, when we face our inner moments, are actually facing Confucianism, which is the ethical system established by Confucius. Think about our relationship with our parents, think about those moments that make us happy and ashamed, and you will understand what I said. I have been thinking about this problem for several years, and I have come to the conclusion that I can't help it, because I was born in China and grew up in China. Confucianism is in my DNA. I try to get rid of some absurd things, but I still can't change some essential things.

After awakening, I think Confucianism is not bad. Confucius is also a healthy and interesting old man, who still shines with the unique light of an idealist-an idealist is an admirable person with sadness and philosophy at any time. Now we all know that The Analects of Confucius was compiled by people after Confucius, and it is a natural text taken out of context. Confucius said these words in context, not in isolation. It is often ironic if we engage in literal fundamentalism. There are many such elegant jokes in the ancient joke collection, such as "it is filial piety if you don't change your father's will for three years", so a thief's son is filial piety if he doesn't change his will.

In the first year of postgraduate entrance examination, I made a topic and wrote a short article explaining that "education has no class distinction". In the second year of postgraduate entrance examination, I wrote a short article explaining that "people can make it unknown". These punctuated Analects of Confucius can be read in many ways, which just conforms to the definition of ideology by politicians and is passed down from generation to generation. Sometimes you will find that the same sentence, at different times, has the opposite explanation. Don't do it, you know. People can make it, but they can't know it; One is enlightenment, and the other is ignorance policy. Whoever uses it well can be a leader.

We have learned a lot of Confucius' articles and articles about Confucius intermittently in textbooks. In fact, Confucius only left a non-fiction work (whether historical or not), Spring and Autumn Annals, and an edited work, The Book of Songs. Sima Qian said that Confucius was "born in the Spring and Autumn Period". In his view, people have to be desperate to calm down and do something practical. Confucius wrote Chunqiu in a simple way, hiding a lot of unspoken words. Later, three people came out to take notes, so there was Three Biographies of the Spring and Autumn Annals, all made of bamboo slips. It seems to be Confucius' regret. The only sentence we are familiar with in the Spring and Autumn Annals is Duan Yanyu by Zheng Boke, which was translated into a wonderful story of 100 words in Zuo Zhuan, and there are conflicts between characters in time and place. So far, I have read Zheng Bohe.

This film roughly combs the life of the idealist Confucius and is complete. Confucius' character is capable and pedantic. His apprentices who always talk about it are also quite distinctive, and the dialogue in the film is not as stupid as other domestic movies. Most of the stories we are familiar with have been interpreted, such as In Chen Jueliang, Zi Jian Nan Zi, Luzi Wen and Ke Ke, which are all well interpreted, and their genius lies in spreading the familiar allusions in The Analects into different scenes. Some paragraphs in the Analects of Confucius indicate the time and place, and some paragraphs only contain one sentence, so it is meaningful to insert them anywhere. As long as Confucius said it, the context conforms to the context. After all, no one knows when, where and when Confucius said these words. I especially like the passage of "seeing Nanzi as a son". I think that "a lecherous person does not see virtue" and "three hundred poems" are just right in one sentence.

There was a national discussion at the beginning of the film, and the atmosphere of free debate was a bit like the meaning of the British Parliament. At this time, Confucius, like Socrates, bravely challenged the common sense of the society at that time and adopted Socratic logical syllogism to overthrow the judgments and systems that everyone was used to. Most of the later stories are too montage. This film mainly tells the story of Confucius written by Lu.

At the beginning of the movie, some awesome faces flashed before our eyes: Bao and Zhao Jiping. . . . The mirror bag deliberately chose the angle and painted Confucius very high.

And, of course, the fifth generation female directors Hu Mei. When we talk about Zhang Yimou and Chen Kaige, maybe everyone didn't expect that she was also a graduate of the same session and also participated in the filming of Yellow Land. Some people say that every work of hers has a new shadow behind it, but I don't think so. In college, whatever I saw was new, I felt that he was far behind Hu Mei. However, the Yongzheng Dynasty and Confucius both turned the curve and loved the country and the party. It's also quite memorable. I think, in this movie, at least "Tyranny is fiercer than Tiger" can be made brilliantly, at least the story is accurately recorded.

There is also a very gossip unexpected discovery. Yu Pinhai is the mastermind of this film. In that year, Jin Yong repeatedly weighed and chose the right one and sold Ming Pao to him.

On the whole, the film is worth seeing. At least we can sort out all the messy things about Confucius that we forced to instill in the past-if you haven't forgotten them all. You can know a few rare words-you used to read ancient prose, but when you arrived at Zuo Zhuan, your head got bigger. In the movie, you can know a little about ancient culture by following ancient sounds and characters, and by following the titles of ancient surnames and ancient names.

At the beginning and end of the film, white-haired Confucius sits on the steps, sleepy with bamboo slips in his hand. He is probably thinking about his magnificent and sad lonely life, being a spiritual leader in the spring breeze, and playing drums calmly on the battlefield where stones fall like rain. Everyone knows that "the Tao can't do it", but he ran into the darkness, knowing that he can't do it, and he could give up anything for his ideal.

In the last scene, Confucius murmured: It's true that I haven't dreamed of Duke Zhou for a long time, because according to records, Confucius loved reading the Book of Changes in his later years. Even when he was old, he refused to accept Laozi's doctrine of innate immunity. Even after learning the Book of Changes, he did not believe Laozi.

Wonderful comments on the film Confucius 2. Confucius in history was once trapped in Cai Chen, and Confucius in movies was trapped in a mediocre frame.

As a film, Confucius is an overly conservative work. After watching the opening five minutes, you can come to this conclusion. Photography, editing, everything is so dull. The overturned vessel seems to be a metaphor for the whole movie, telling us how terrible and straightforward it is to hide behind this seemingly ancient work.

Confucius once again raised a permanent question: how to express our cultural heroes on the screen?

There are many ways to create a tall image of a great man in a heroic film, and the stupidest one is to let the great man tell everyone how great he is. It's a pity that Confucius is precisely this idea.

Confucius in the film has almost become a machine to reread aphorisms, but often before the aphorisms are finished or even started, Zhao Jiping's symphony can't wait to remind everyone that "attention, aphorisms are coming"! You can pay attention to how many times the trick of "motto plus symphony" is repeated in the film. If it weren't for Chow Yun Fat's sophisticated lines, he would have laughed. Fage's stalwart figure and bright eyes have become the shield of this poverty, and I don't know whether it is good or bad.

Using movies to express great men, filmmakers in different countries have their own tricks, which is somewhat different from the assumption that "the picture is an international language". When Europeans and Americans take pictures of Christ or angels, most of them will take the method of backlighting and positive fill light to capture the power of this person "coming with God's will", and the bright light behind it symbolizes God's care. This is closely related to the idea that westerners have a single personality god. In contrast, when shooting the "magic scene", we should make good use of the direct light in the dense clouds. The common Dindar phenomenon in nature hides the will of heaven in the eyes of westerners, as if it were an angel to save the world. These extraordinary scenes are all means with both western cultural background and film characteristics. It is the crystallization of the development of western films for more than one hundred years.

Japanese don't shoot samurai in this way. They pay more attention to the posture and expression of the characters, as well as the position of the picture and the background of the people around them. This is a very interesting contrast between things. During the film period of 17, China also developed a unique set of aesthetics of "appreciating good and punishing evil". Simply put, you must shoot good people with elevation and light, and you must shoot bad people with depression. The light source comes from below. Good people stand high, bad people stand low. Old audiences are familiar with this coding system. Li Xiangyang and Captain Pig appeared. Without speaking, the audience could tell good from evil at a glance. At the same time, Hong Kong people have developed a set of methods to shoot heroes. One of the key elements is to show the strength of heroes with "close-up of time"-slow motion. In those days, I watched many heroic movies. Occasionally, when I saw that there was no slow mirror in Chow Yun Fat, I actually played some movies.

It will be interesting to compare this difference between East and West. Confucius, a Catholic theologian, once made an incisive summary. He believes that the religions in the world are divided into three major water systems: "Prophet religions" in Europe and West Asia, including Christianity, Judaism and Islam; "Mysterious religions" in the Indian subcontinent, including Hinduism, Buddhism and Jainism; And China's "sage religion", with Confucianism as the standard version. The object of western religious films will never be God himself, but his messenger or agent on the earth-the prophet. Therefore, it can be understood that the effect of backlight shooting is specially prepared for prophets with God behind them. The focus is not only on the target characters, but also on the majestic demeanor behind them. The "sage religion" in the East pays attention to human virtue and etiquette, and can't say no to immortal things, but stay away from ghosts and gods. Japan, mainland China and Hong Kong all pay great attention to his attributes as a person and his relationship with others when shooting heroes. What is hidden behind the slow mirror is the unique sensitivity of the orientals to the passage of time and the concept that "heroes are immortal after the wind and frost".

Looking at Confucius from this angle, you will find that there is no complete aesthetic system behind it. The director doesn't seem to have a consistent idea of creating a hero except to let Brother Fa sincerely face the camera and say his motto. All kinds of methods are used a little, but they are not used in place. The film spends most of its time shooting Confucius with a head-up lens, but it is unremarkable in composition and scene scheduling, and the constant positive and negative scenes in the interior make people think that they are watching TV dramas. If he is deliberately emphasizing that "saints are mortal", then the "Confucianism and Taoism Summit" is obviously not, indicating that the director still wants to highlight Confucius, but there is no way. The most terrible thing is that even this "style without style" has not been maintained. Since Ji Sunsi sent someone to welcome Confucius back to his hometown, the audio-visual style has changed greatly. Confucius and his disciples first stood proudly in the backlight, showing off "heroes", and then returned to Lu under the protection of "divine light" These are obviously copying western movies. Later, Confucius bowed down to the old city and used an upturned lens for the first time. You see, the lofty ideal of "Sangguquan" has finally been recognized by the old country, which is a kind of praise, but isn't Confucius, who was hungry and cold, also a noble? This kind of head-up is a bit snobbish.

This problem of Confucius is also a problem of China's films. Since we got rid of the revolutionary film aesthetics of "the enemy leans towards me", we have no rules to create heroes. "Sweeping Southwest" and other bullets copied from Hong Kong movies are slow-moving, and the effect is quite thunder. The "super typhoon" caused the explosion water column to rise from behind the leaders in suits and ties, and the lightning point was close to the lightning level. Confucius was really helpless, so it was just a TV series, and finally it was done by copying some foreign practices. It doesn't matter if you don't acclimatize, anyway, the audience is used to watching Hollywood now. It would be nice to mold Confucius into The Lord of the Rings!

However, starting from Confucius alone, we can't help thinking about such a question: how to better shoot Confucius saints? How to embody the Confucian thoughts of "golden mean", "comity" and even "neutral education" in the scheduling of shots and scenes? Would it be nice to express Confucius' "immortality" in a little slow motion? Is there any other way? These are the big problems left to the whole China film industry.

An Erlang invented a low-key and slightly upturned perspective in his own films, which is regarded by the world as the spokesman of traditional oriental customs in the film industry. However, it is a pity that a film about Confucian saints filmed in the state of traditional etiquette can only copy the stereotypes of other countries' films one by one. This is probably the portrayal of China today-eager to embrace tradition, but still far from realizing the core of tradition.

Another big failure of this film lies in music. Zhao Jiping's score can't be said to have no intention, but putting a purely westernized symphony in this film, which is positioned as a "national epic", is like a sonnet inserted in the "national wind", which is unspeakable awkward. I don't know when this style of soundtrack became a good partner for the main theme movie. Red river valley on the Qinghai-Tibet Plateau is this tune, Jiao, a good public servant of the people of Henan Province, was this tune, and Confucius was still this tune two thousand years ago, which was occasionally embellished with some musical elements of the times or places, even if it was "nationalization". The dance music in the Weiguo Palace was originally a great opportunity to restore the original ecology of the Spring and Autumn Culture. Unfortunately, at the beginning, the music was completely suppressed by the grand symphony, leaving only a trace of music struggling in the encirclement, and the soundtrack of other parts of the film was similar. The late "You Cao Lan" failed to recover the defeat. Without credible music, the power of movies to convince the audience that "this is the time" has disappeared by half invisibly.

But these are not comparable to the negligence of the plot. The compactness of the first half of the film and the looseness of the second half have always been criticized. I think the bigger problem lies in the grasp of Confucius and his spirit. As soon as Confucius appeared, he was set as a middle-aged man with noble morality and mature thoughts, but everyone knows that no one was born like this. For most people who walk into the cinema, they need to know Confucius' thought and its significance, which cannot be assumed as well-known background knowledge in China today. However, the creator of this film doesn't seem to pay attention to it. Apart from the initial opposition to human sacrifice, the film has nothing to do with the social background of Confucianism, its significance at that time, the debate with other schools, and Confucius' mental journey. It seems that he was born an idealistic martyr, and Confucianism is naturally the way to save the country and the people. Such a taken-for-granted script is fundamentally lacking in strength and belongs to an ideologically overconfident work (with distinctive mainland characteristics). Therefore, some viewers questioned "What's so great about Confucius? Isn't he a frustrated politician? " This is not surprising.

You're welcome to say that Confucius is filming a cultural saint with the idea of filming a "good cadre", removing all the hesitation and hesitation belonging to thinkers and all the social foundation behind his thoughts, leaving only his "ups and downs of life", as well as war and beauty. Such a movie, seemingly realistic, is actually a myth, no matter how beautiful it is, it is just a lively event that can't impress people.

In my imagination, China filmed Confucius today, and walked into this character's life from the perspective of a disciple, which would be more suitable for the current audience. It would be better to say "benevolence" with the contradiction between the hegemony of the heroes and the sufferings of the people, and "courtesy" with the contradiction between the tyrant's transgression and the etiquette of the Zhou Dynasty. The former is sensational and the latter is spectacular, both of which make the film beautiful and thoughtful. It's better than betting on unrelated CG war scenes and "romantic secrets"

Unfortunately, in this era, it is king to be unrestrained and save money and materials. Confucius, who "shows the life of a great man in a positive way", is destined to be a cultural event from the moment of opening. As for the film itself, it can only be said that talking is better than nothing, that's all.

It is said that "Confucius" was involved in a political conspiracy theory, and meeting each other online was almost spectacular. I walked into the cinema with a malicious critical attitude that was easily influenced by public opinion. After watching the movie, I found myself a villain after all. Confucius in the film has encountered the same situation in reality-but it has become a means and tool for some people to vent their anger, and it is inevitable that they will be misunderstood. In the play, he can still "change his mind" to deal with the injustice and chaos in the world; For the experience outside the movie, he is really powerless-"the second child is weak."

However, this situation is surprisingly coordinated with the film itself, because Confucius in the film has been looking for a "bosom friend", but there are few endings. Confucius' story is not a biography of a saint, but a story about self-identity in the final analysis. The relationship between Confucius' disciples and Confucius and Zi Jian Nan Zi are two major parts of Confucius. Both disciples and Nanzi were one of the few "confidants" of Confucius at that time. Tragedy is not only the lack of intimate friends, but the end of intimate friends are all dead and hurt, and they all end in disappointment. So this film is about "Seeing Nanzi" and "Saving the Letter from Yan Hui". Confucius knew that Nanzi appreciated him and could not stay in Weiguo. Knowing that Yan Hui's life is in danger when he falls into the water, he can't rescue him-in fact, he is creating a sense of powerlessness towards the characters: he can't change the status quo, nor can he change the fate of people around him.

This is another theme of the film and the origin of Confucius' "inaction". In the film, the young Confucius has great ambitions. He didn't agree with Laozi's "governing by doing nothing", but hoped to change the status quo by himself. However, what greeted him was homeless and almost lost, and his idealism was about to be hollowed out. At the end of the movie, Confucius wore white clothes on his back, which was almost the same as Laozi's. He finally understood "not participating in politics" and "governing by doing nothing". "You can't change the world, you can only change your heart." The film seems to depict the despair and helplessness of an idealistic loser, but in fact it tells another story of "being suddenly enlightened": ending his life with "preaching and teaching to solve doubts", "doing nothing" and "doing something". At the end, after the death of Confucius, Bao's lens poked out of the window, and a calm picture scroll was just the perfect complement to this mentality.

When it comes to the tail, the film has a clear idea. From entering WTO to being born, Confucius finally hoped to escape from politics and disputes. In the play, Confucius realized that there are many precious things in life: teacher-student relationship, confidant relationship, family relationship … and the struggle between the party and the opposition is meaningless. This is also the reason why this film is quite "moderate", because what he wants to express is the value of "inaction". Due to the lack of intense contradictions and dramatic struggles with strong visibility, the pace of the film is quite slow. Confucius, who had hoped to "escape from politics", followed suit and fell into a "public opinion quarrel" outside the play. Isn't this just another kind of black humor?

On the surface, Confucius tried his best to reflect history according to gourd paintings. In fact, it is only a metaphor for the present, and it is still the theme of recent film and television dramas: Confucius is still preaching to the mainstream society that lacks faith and loses the quality of "persistence". Therefore, even though Confucius in the movie was displaced and had nowhere to hide, he still insisted that "pines and cypresses are known when they are cold." People can only become tough through experience, and they can only see the essence after the wind and frost. It's a pity that this film depicts the essence of Confucius, but it doesn't describe those "wind and frost" and "experiences" in depth, so that the theme of the film comes first and the details are lacking.

But this is only about the defects of the film itself. As for the attackers of conspiracy theories, they certainly don't care what the film itself is.