2009 McDull Film Review

McDull is never a simple fairy tale. Almost all the cartoon images in the world are virtual, beautiful and ignorant, but McDull, who was originally in Dajiaozui, had to pack his bags and go north to Wuhan to learn a skill for his life. If Snoopy starts to apply for a job, it must be deliberately black humor, and in McDull, all actions are justified by the word "grassroots". If it is not an adult fable, how can black humor become so natural?

The surface of McDull is still "grass roots". The single parent Mai Tai went north to the mainland and studied Taiji Chuan under Taiyi Chunhua Gate, but the story inside is different. Apart from some Brian Tse-style gags, its essence continues the pessimistic tone of Prince Pineapple Oil and Springfield Flower Show, revealing a touch of sadness and helplessness from a bustling and noisy scene.

Back to the definition of grassroots in McDull's comedy, according to Lin Yihua, most of the so-called "grassroots" in Hong Kong involve money, and material poverty is the central proposition of many small people. Throughout Brian Tse's films, the central idea is to fear and escape from this "grassroots" mentality, which is nothing like the "grassroots" theme of Xu Guanwen or Stephen Chow's films. In their movies, the main idea of the protagonists is to get a completely different life in material terms. Although Mai Tai in Mai Dou series is as materialistic as ordinary Hong Kong people, she can fight for the identity of advertising spokesperson in order to settle down. She can go to the TV station to make a paper-wrapped chicken and go north, but the real protagonist McDull is a Hong Kong "alien" who doesn't want to participate too much in material pursuit. He knows nothing about the laws of adulthood, and has been living in the spiritual world with naive ideas. He has affection and friendship that ordinary Hong Kong people don't have, and he often tears sensitively. In McDull's Ring, McDull's life in Chunhuamen, Taiyi, North China is almost the same as that in Chunhua Kindergarten in Chuntian. Taoist and Taoist sisters are the changes between the principal and Miss Chen. Life is still dotted with hesitation and gentleness, and even the most basic wishes of children have not changed. Their dream of "playing the edge furnace" has been transformed into "one pot out" in the blast furnace, and McDull's world remains unchanged.

But the ideal is the ideal after all. Mrs. Mai ran from Wuhan to Shanghai, busy with her life and family, and she never slackened her material bondage for a moment. McDull, who escaped from the Taoist temple, called his mother at this time, and the picture at that moment was full of endless sadness and sadness. What did McDull think when he grew up and looked at the smoke on the day of Mai Tai's cremation? He knew that he had to grow up for his favorite mother. Mcdull grew up inadvertently, but he didn't weaken the cruelty at all.

A comment on McDull in the movie: "He is not mentally retarded, but too kind", which is best said as "He doesn't know how to cater to this material world, but lives in his own spiritual world". Brian Tse hopes to continue to be stupid, continue to be stupid, continue to be vigorous, and continue to open the bottle cap, but in fact it is obviously impossible. When McDull grew up, in the first episode of The Story of McDull, it was obvious that he had left alone. Although everyone wants to escape from the "grassroots", the movie characters have to fall into the "grassroots" pattern, which is probably the ultimate source of sadness in McDull series movies. For this increasingly materialized world, McDull's words and deeds are always just an ugly gag. You can laugh, but it's just a bad joke. How can a bad gag be taken seriously?

The special feature of this episode of McDull film is that it magnifies the friendship between McDull and Mei. In previous stories, Mei, who often talked with McDull, was just a passer-by, but in Dangdang, she has become a new perspective besides "storyteller" (Hong Kong version of Zhan, mainland version (visiting his blog)). At the end of the story, she realized Brian Tse's adult fairy tale about this film.

Compared with the first three films, the film production of Dangdang Dangdang has achieved a certain degree of technological transcendence. The 2D and 3D paragraphs in the film are beautiful, and the picture processing and character details are improved compared with the previous film. There is a passage describing "wheat swelling" in the form of "Riverside Scene at Qingming Festival", which is even more ingenious and shows Brian Tse's painstaking efforts as an independent director this time. But the deficiency lies in the sloppy ending and awkward logic. Looking at the present situation, there is quite a helplessness forced by a system. In the domestic version, Huang Qiusheng's Moonlight is only a companion; The mandarin version of the theme song "McDull" is even more incompatible with McDull's story. At best, it's just an episode of Pleasant Goat, and Dangdang, who won the genre of Guangdong minor, is obviously incoherent with low IQ songs in Mandarin. The language constraint of the film is not only here, but also the dubbing of Song Dandan and Bo Huang, but it is still a bit neither fish nor fowl in such a story of Cantonese culture cohesion; People like Yin Guang appeared at the beginning of the film and played a Tennessee waltz. If you don't know Hongkong, how do you know who Yin Guang is? * * * Where did Ming come from?

The revision and results of this film in China also coincide with McDull's fate. Mcdull had to integrate into this snobbish world, and Hong Kong films going north had to accept such an unrecognized result.

Society has rules of the game, and the north has rules of survival. Maybe one day McDull will become "smart but not kind".

This is the real sad beginning of this story.