The film 192 1 received rave reviews.

The film 192 1 received rave reviews. 1July, the film 192 1 appeared on the big screen to pay tribute to the centenary of the founding of the party with light and shadow art, and the film was set in Shanghai in 192 1 year, recreating China * *.

The film 192 1 received rave reviews. The film 192 1 was directed by the Propaganda Department of the Shanghai Municipal Committee of the Communist Party of China, produced and directed by Huang Jianxin, and jointly directed by Zheng Dasheng.

A few days ago, under the guidance of Shanghai Film Bureau, an expert seminar on the film 192 1 was held with the participation of Chen Xiaoda, deputy director of the Film Department of the Propaganda Department of Shanghai Municipal Committee, Su Zhiliang, director and professor of the Urban Culture Research Center of Shanghai Normal University, Wu Haiyong, director of the Party History Research Office of Shanghai Municipal Committee, Gong Jinping, deputy director of the Film Art Research Center of Fudan University, and Shanghai Film Criticism Society. Shi Chuan, Vice Chairman of Shanghai Film Association and Professor of Shanghai Theatre Academy, Zhang Bin, Professor of Shanghai Film Academy of Shanghai University and other famous film theorists and critics, Wang Jianer, Party Secretary and Chairman of Shanghai Film Group and other producers' representatives, Zheng Dasheng, co-director of 192 1, producer Ren Ning, actor Wang Renjun and various media reporters attended the meeting. Party history experts, film scholars and media reporters jointly discussed the artistic value and significance of the film, and highly affirmed that the film "truly showed the complete course of the birth of China * * * production party as a textbook".

The film 192 1 focuses on the stories around 192 1 from the perspective of "cross-section" of the times, and reproduces the grand historical moment that started the world a hundred years ago in a panoramic way-young people with an average age of only 28 from all corners of the country broke through all kinds of complicated international situations.

Literature and art are soul casting projects. To realize the great rejuvenation of the Chinese nation, we need indomitable great spirit and inspiring great works. Su Zhiliang, director and professor of the Urban Culture Research Center of Shanghai Normal University, highly affirmed the grand narrative of the film, and condensed the major events around 192 1 at home and abroad into one film by artistic means. At the same time, Professor Su, as one of the most authoritative experts in Shanghai's urban cultural history, also spoke highly of the film's first true restoration of Shanghai's urban panorama in the 1920s. He believes that the crew has made great efforts from the big city scenery to the small details of modeling props, and through the true presentation of the concession culture at that time and the collision between eastern and western cultures, it profoundly reveals the historical reasons why Shanghai can become the birthplace of China's * * * production party.

Wu Haiyong, director of the Party History Research Office of Shanghai Municipal Committee, highly affirmed that "192 1" is "a high degree of integration of art and truth", and it is of great significance to release it on the centenary of the founding of the Party in 202/kloc-0. Party history education needs classic works of different times to pass on the story of party building from generation to generation. If "Creation" is a realistic work and "The Beginning of Great Rejuvenation" is a brilliant interpretation, then "192 1" is a focused, young and true restoration work, which tells the history of the founding of the Party with a new perspective and artistic expression closer to contemporary young people on the basis of rigorous historical materials. Wu Haiyong believes that the young tonality of the film is to make it easier for young audiences to walk into historical stories and find * * * songs, and at the same time, to show the ancestors' initial intention of building the party when they were teenagers. Wu Haiyong said, "What I appreciate most is that Mao Zedong, a young man in the concession, can't see the celebration of French Independence Day. This kind of imagination is so beautiful, that is, it realizes the ingenious integration of art and history. " In the film, Mao Zedong, a young man, happened to meet the celebration ceremony of the French Concession in Shanghai, but he was turned away. He was indignant that he was obviously from China but could not set foot on the land of China. Then, he took "Run, Mao Zedong" as the scene, interspersed with montage clips of his growth experience, rationalized the imaginary life scene, and connected it with a generation of great men to establish his growth path and the source of strength for changing the social status quo of humiliating the country, so as to show his ancestors.

Shi Chuan, vice chairman of Shanghai Film Association and professor of Shanghai Theatre Academy, thinks that the film 192 1 is an innovative creation with a very high level in the same theme, which is surprising, and has opened up a new height for the creation of the theme film, especially in shaping the struggle course and revolutionary force of the younger generation with flesh and blood, "truly writing young people into young people" and "the image of Mao Zedong has stood up."

Gong Jinping, deputy director of the Film Art Research Center of Fudan University, said, I think it is very difficult to shoot this kind of party building story. Unexpectedly, the movie 192 1 deeply shocked and touched me. In addition to macro and heavy movies, it is extremely delicate and true in restoring historical scenes and people's emotions. "The expression of the situation in China at that time and the struggle of ordinary individuals in the historical atmosphere showed that the Party was not established suddenly. However, after experiencing confusion and confusion, he made great efforts to celebrate the 0/00th anniversary of the founding of the Party/KLOC-with firm goals. At the same time, he affirmed his appreciation of spy war, car chasing, action and other types of elements.

Liu Haibo, vice-president of Shanghai Film Criticism Society, interprets 192 1 as a new attempt of theme works: a novel international perspective, an organizer's perspective of joining the "first conference" and a lot of historical details. He was also deeply moved by the young people who were carefully interpreted in the film and eventually died for the revolution.

Zhang Bin, a professor at Shanghai Film Academy of Shanghai University, praised "192 1" for meeting the audience's historical and aesthetic expectations for the initial party building. "We can not only understand the importance of party building to the country and the nation, but also understand why the ancestors pursued the revolutionary cause and communicated with the current audience with people, emotions and values." He affirmed the fusion of film typological thinking and theme, and highly affirmed the actor's interpretation: "I can immerse myself in the role."

This year marks the100th anniversary of the founding of China * * * Production Party. Standing at the historical node of the century-old intersection of 202 1, we are about to embark on a new journey of building a socialist modern country in an all-round way. Therefore, both the audience and the times need film and television works that conform to the current era and cultural context and truly "people-centered". While "192 1" shows the historical events of the founding of China * * * producers' party in a panoramic way, and explores the initial motivation of the first generation of * * * producers to complete the "China miracle" of "changing old China in 28 years" and vividly reproduces it.

The film 192 1 received rave reviews. The film "192 1" with hundreds of famous actors is about to break 300 million at the box office in four days, with satisfactory results. The word "comparison" is used because it is better than the pioneers of the same theme, but much worse than my people, my motherland, my people, my country and the same name. This means that the number of famous actors does not determine the word-of-mouth and box office of the film.

Some viewers who have seen this movie are very happy to see so many famous actors in it. Some viewers are moved by the historical plot and characters in the movie, and some viewers think this theme movie is very "good-looking", but this part of the audience is not the majority. After all, the current score of 192 1 in Douban is only 6.7.

Wang Hailin, a famous screenwriter, is obviously not the third kind of audience, because he wrote a long film review, moved by the history of the film, praised the Excellence of some actors, but criticized the chaotic narrative main line, too many flow stars and the lack of depth and focus of the story.

In the past two years, screenwriter Wang Hailin is not mainly responsible for "scriptwriting", but is well known by more netizens in entertainment reviews and film reviews. For example, from time to time, he launched an online "offensive and defensive war" with fans in Sean and Sean, and from time to time he also made "just suggestions" to other traffic stars. However, his film criticism of "192 1" is really insightful and has been supported by some netizens.

Taking "192 1" as a sample, Wang Hailin reiterated that "the idea of relying on traffic stars to bring box office to movies is a complete failure, and this model is anti-movie", and lamented that "the film industry needs to reflect on when it can return to the film itself and focus on the film." It shows the current situation that the film industry needs to be improved.

Different filmmakers have different thoughts on whether to pursue art or profit maximization. "192 1" undoubtedly wants to maximize the benefits while pursuing art. Among hundreds of famous actors, traffic stars account for more than half. Isn't it just for the box office, but to hone your acting skills?

The traffic stars in "192 1" can better show their patriotic feelings, which is true and must be supported. Many young viewers are willing to go to the cinema because of their performances, and learn about that unforgettable history and those admirable ancestors through this film. If 192 1 is regarded as an "educational" film, it obviously plays its due educational significance.

For example, although the death penalty in Karry is short, it is very shocking. Even veteran actor Zu Feng praised Karry: Although he is very young, he is already an "old" actor, very mature, with good professional quality and rich performance experience.

If even Zufeng thinks that Karry is outstanding, then most Karry fans and those who care about Karry will praise Karry's performance and "192 1". This is the educational significance of 192 1.

But not all mobile actors have such touching scenes as Karry. Some actors can only call it "showing their faces", and even they don't have enough memories of "getting acquainted". There are also some actors who are just "tool people". Their stories have not been unfolded, and their brilliance cannot be displayed in a few seconds or longer.

This is why Wang Hailin thinks that "if the number of streaming stars is reduced by half, the movie will be much better". In order to make some traffic stars "show their faces", directors and screenwriters are bound to add drama to them, but the duration of the film is limited, the main line of the film can not be chaotic, and the protagonist can not be less. "Extra scenes" will inevitably destroy the integrity and unity of the film, which is also the reason why the film is "not exciting enough".

The film industry needs to reflect, so it should be "192 1".