Autumn Changjiang No.7 Professional Film Review

On October 30th, 2008, Stephen Chow's work Changjiang No.7 was released nationwide.

2008 is an era when people laugh every day, eager to laugh from the heart, but it is difficult to laugh from the heart, so we call it the "post-comedy era".

In such an era, the whole people began to set off a deconstruction movement, and all kinds of humor filled every detail of our lives. Traditional poetry has long been an archaeological relic used by historians and writers, and the wise are no longer willing to understand this absurd world with a seemingly calm attitude. Traditional humor is no longer humor, and even the once-popular cold humor has begun to be deconstructed. Seemingly calm expressions (such as poetry) are becoming something close to jokes, cold humor is becoming humor, and traditional humor and even outdated cold humor are beginning to be unknown to people. Just like at the end of Changjiang No.7, Stephen Chow's father told his children's teacher a joke (we can also understand it as expired cold humor), and the teacher felt embarrassed after listening to it, and then said, "You are even more embarrassed. There are only a handful of deliberate jokes in the whole film. At the end of the film, Mr. Stephen Chow has ulterior motives, which is tantamount to confessing to everyone. In such a post-comedy era, he has almost announced a comprehensive compromise.

However, Stephen Chow is Stephen Chow after all. In order to maintain his taste, he chose to compromise, and he didn't waste his effort to create ridiculous humor like today's Spring Festival Evening sketch, which led to his loss at night.

Since I have only seen this film once, I will try my best to write out the feelings in my memory as completely as possible from the four main characters.

1. heroine

Very introverted, the heroine feels extremely pale and empty, and there is almost no personality or the actor's own personality charm emanating from it. After the death of his father, the scene of the teacher coming home to comfort the children should have been one of the key emotional parts of the whole film. However, the heroine's performance is extremely weak. I feel that Mr. Stephen Chow wants to create a simple and direct emotion, but the heroine basically doesn't understand its spirit, which leads to the failure of the play. Having said that, I want to talk about the scene of father's resurrection and children's reunion. It seems that Mr. Stephen Chow still wants to create that simple and direct touch, but the effect is very general, which makes people feel that the design is not detailed enough to be completely moved from the heart. The child jumped directly into his father's arms and cried. The action design was too naked, which made the audience reluctant to put down their IQ and touch them.

Looking at the four heroines in king of comedy, shaolin soccer, Kung Fu and No.7 Yangtze River, Cecilia Cheung in king of comedy and Zhao Wei in shaolin soccer, they have more scenes and full personalities, and both actors have their own personality charm, which can be described as relatively successful. Eva Huang in Kung Fu has the fewest roles, but her restoration of the roles is very accurate, and Eva Huang's later plays are also very mediocre, from which we can see Stephen Chow's uniqueness in developing actresses. The female teacher in "Changjiang No.7" is moderate in part and has many lines, and the characters run through the whole plot. In fact, actors have more room to perform, but as mentioned above, even the lovely father role played by Stephen Chow falls in love with the female teacher, which makes the audience feel a little puzzling or difficult to identify.

child

There are some deviations in the role orientation and specific portrayal of children. This film is to create the truest image of children. He is the most common child, and some children may have some minor problems: being lazy in a toy store and letting poor dad buy expensive toys; The poor father came home, clamoring for his father to cook, without considering that his father had worked hard all day. When I got Qizi from another planet, I wanted to use them to help me get a 100 score, to teach my classmates who bullied me and to show their great power in school. Once Qizai can't control himself, he will severely punish Qizai and even throw it into the trash can, and then he will regret it immediately.

Mr Stephen Chow just wants to create such a real child, because he knows that real things are lovely. However, the role of the child lacks delicacy in the specific depiction, which leads to the fact that the cuteness of the child is not deeply rooted in the hearts of the people. Exquisiteness does not mean that it is not direct or simple, but that there is no hierarchy.

Briefly talking about Mr. Stephen Chow's feelings for children, Stephen Chow once said in an interview: "Don't underestimate the understanding ability of young friends." In Changjiang No.7, Stephen Chow once again expressed this view. After the last few young students were punished and reconciled, the boss (the little actor was in a good position) said to everyone, "We don't care about adults."

My Lord. Children? Who can understand the world more thoroughly? Are theoretical adults a group of retarded people brainwashed by rules? Mr. Stephen Chow threw us a sharp and worth discussing topic.

3. alien seven sons

The film created a nearly perfect character, and the computer special effects were very exquisite. I'm afraid only computer design can ensure that everything in Mr. Stephen Chow's mind can be completely restored.

The lovely Xiao Qizai, who was told the story of Bruce Lee, was most impressed by the scene in which a student played Xiao Qizai as a penalty station, making him laugh when he laughed, and making him angry when he was angry. It was straightforward, simple and vivid, which made people laugh. Isn't this the purest action erupted by a purest person? Mr. Stephen Chow once again told us: Pure power, don't lose that primitive pleasure.

4. Father

The reason why the role of father is placed at the end of the four protagonists in the film is because the father has a complete and independent story line and does not jump out of the big plot of the film. About my father's hard life as a migrant worker, this film is wonderful, although there is not much pen and ink. I believe many viewers, like me, didn't enjoy watching Stephen Chow's play of migrant workers and fat foremen on construction sites, but Mr. Stephen Chow, like us, didn't give his tears to the emotional part at the end of the film, let alone give himself the sense of humor that didn't break through but still tasted. Stephen Chow said a lot of things he wanted to say through the role of father, whether it was the repetitive sentence "What the poor want …" or squatting on the street watching TV with children, making a subtle mockery of the mainland news broadcast with close-up and panoramic switching, and revealing their various living conditions with his unique understanding of the lower classes (migrant workers) living in the mainland, which basically achieved the expected results. Mr. Stephen Chow also used the role of father to show us his superb acting skills that he had never shown before: at the beginning of the film, his father mended the children's shoes, and his hand was close-up, and the state rhythm was just right, which reminded me of the sentence "A good actor shoulders the drama".

5. Other roles

Boss among classmates: success.

The little actor's performance is mature, exaggerated but unpretentious, and he basically understands the spirit of Stephen Chow's nonsense.

PE (High Jump) Teacher: Success

There are not many scenes, but they are extremely brilliant. "Students, I only said one sentence:" # #% #

This is one of the most hilarious scenes in the whole film.

Invigilator (eye) teacher: Failure.

There are obviously more scenes than physical education teachers, but, in the words of post-comedy era. As soon as he appeared on the stage, people felt very cold, which seriously damaged the overall atmosphere of the film.

Two fat classmates: quite satisfied.

Looking at the whole film, there is still no such complicated and ingenious structure as a Chinese Odyssey and a huge amount of content that has caused fever scholars to study and discuss. Although there are many details on the No.7 Yangtze River, its coverage is very limited, which will probably disappoint the fanatics in Zhou Xingxing.

It is not difficult to see from the traffic lights that appear many times in the film (there are also traffic lights in Kung Fu). Stephen Chow plays a role in a traffic light box with the function of indicating direction at the crossroads. He feels extremely confused in his life and knocks angrily on the iron wall around the light box, which is self-evident. It's really hard for Stephen Chow to break through. But Stephen Chow is Stephen Chow after all. He didn't let go of his taste and interest that he had improved again but didn't find a reasonable expression, and then he continued to blindly follow his old path (so-called nonsense) (in fact, it was very easy, such as adding scenes at the construction site). ) But just like the joke played by the teacher at the end of the film, Stephen Chow tells us directly that he can't do it at least now, that he can't break through himself, or that he can't pursue and explore a new road in this post-comedy era, which seems to be a lovely and slightly ridiculous compromise between Mr. Stephen Chow and today's era.

If Kung Fu is the successful transition of Mr. Stephen Chow's works from a Hong Kong entertainment film to a Hollywood-style rigorous entertainment film, then I'm afraid we only saw Mr. Stephen Chow's successful use of special effects in No.7 Yangtze River. Although the deconstruction is still rigorous, these Mr. Stephen Chow have proved to us in Kung Fu that Mr. Stephen Chow did not break through the so-called nonsense comedy that we are most concerned about, but chose to compromise cutely.

Title 2

From "shaolin soccer" to "Kung Fu", and then to "Changjiang No.7" released yesterday, Stephen Chow (Q Bar) with white hair spent about three years grinding an atypical Hong Kong film and completed his "trilogy" turn from actor to director. "Stephen Chow's Works" is not only a line on the screen, but also a remarkable symbol of Hong Kong films after 1997.

However, this signboard is rotten, and it is really rotten.

1999, the star of king of comedy shouted at the sea: "Work hard! Struggle! " Although stanislavski's "On the Cultivation of Actors" is under his arm, Li Lichi, the director of the film, has been unable to control such an actor. In other words, Stephen Chow gradually reduced Li Lichi to executive director, so later Li Lichi could not resist Stephen Chow's desire for control and had to transform himself-before Li Lichi, there were Stephen Chow's mentors Li Xiuxian and Jing Wong, who cooperated the most; After Li Lichi, Ng Man Tat, Sammo Hung, etc. Broke up, not to mention the star girls who are usually labeled as gossip. ...

Stephen Chow, who is in his forties, was born early, which shows that he thinks too much and is very serious, and wants to be a director.

Stephen Chow has many complicated feelings, and Stephen Chow is also a master of deconstruction-of course, he was named by others. Shaolin soccer was possessed by Bruce Lee, and aspiring young people punished evil and promoted good; Kung Fu is an organic collage of favorite Cantonese films from Kowloon Castle to Tathagata's palm. In the short 89-minute sci-fi film "Changjiang No.7", he also took pains to present them one by one and enjoyed it. His experience of growing up in a divorced family without a father made up for his son Xiao Di's exaggerated warmth in playing cockroaches and Xiao Qiang. The love for Spielberg has become an alien dog "Qizai" that looks more like a chicken, and the CG stunt level seems to remain in the E.T. era; To pay tribute to Chaplin, Yuqi Zhang, the teacher of migrant worker Zhou Tiepian, tried to soak in a short cheongsam. The only classic star-shaped "haha" laughter came to an abrupt end, and he asked in despair, "I found myself so handsome recently, don't you think?" ; Of course, there were also adult characters in star movies in the past. In CJ7, there are miniature models of children's images. Even Xiaodi staged A Xing's Seeing an Eagle in the Air in Kung Fu, and issued a Tathagata's palm-No.7 Yangtze River, which is described in one sentence as an alien dog version of migrant workers' son +e. t .+ Stephen Chow's nonsense chop suey pediatrics.

Stephen Chow's performance should be said to be quite touching. He is already a billionaire, which is rare. He is so sincere to a bearded, dark-skinned and precocious father of migrant workers, so clumsy at mending his son's broken shoes, and so skilled at smashing buildings with trolleys on construction sites ... However, as a director, his performance can't save the film from being "rotten"-besides, in order to be a director, he is only a big supporting role in children's films. In my opinion, whether realism is incredible or science fiction is not strong enough is not the key to comment on the film. It doesn't matter that Stephen Chow is not so funny but makes people cry too tired. Just as a director, if he will constantly copy and copy himself in the whirlpool of "takenism", he will either not know it or be too self-expanding.

Stephen Chow, are you a director now? Isn't it? Really?

Title 3

Stephen Chow's is irreplaceable for fans. He is not only the only reliable joke maker in the Chinese film industry, but more importantly, he has a famous brand inspirational story from the bottom, and his films have an optimistic low-level mentality. When everyone is right and wrong and everything is wrong, we are caught off guard. When the narrative of moral violence dominated by Darwinism is popular, we can't wait to escape the fast-paced realistic pressure and walk into the cinema to hug Master Xing!

In fact, all the changes come from Xingye's role as a father of migrant workers in the film. He struggled on the construction site and sent his children to an aristocratic primary school for the first time with meager income. No longer a young man with no attachments at the bottom, the sense of responsibility of a father who wants to get ahead in a single-parent family will inevitably replace our unreasonable and unruly image; This is no longer a Hong Kong-style fantasy world, and the unprecedented close and cramped living reality at the bottom of the mainland makes it difficult for us to relax once we enter. The father and son live alone in a huge industrial ruin. This isolated and crumbling space setting can almost describe the lonely heart of his father who is suffering but firmly sticking to it in a visual metaphor.

This stormy story reveals the emotional story of father and son, which gives people a sad emotional tone from the beginning, but it does not prevent the film from laughing again and again from the beginning: Jiao Xu's son was bullied at school at the beginning, and his classmates were excellent. The school violence in primary schools can become the tone of the children's version; The new version of flowers is amazing, and the newcomers are not inferior to the old ones; The action scene design not only copied the picture composition of the editing sequence from the duel between Zhang Ziyi and Pei-Pei Cheng, but also imitated the bridge, and even mocked the whole process of the famous family before doing it yourself. Moreover, the scenes in Master Xing's previous works, such as cheating in class in Truant and Veyron, actor interview in king of comedy, and pranks in Expert of Pranks, have all been reproduced in a brand-new way, and the effect is quite good. The young child stars who first appeared on the big screen have their own characteristics, and * * * presented an unforgettable collective performance. However, it is not difficult to see that the director's summary of his past works through his "son" is obviously mixed with self-mockery and even a negative reflection attitude.

In fact, the father played by director Stephen Chow found Hope (English title)-Changjiang No.7 from the garbage. The director's worldview presented by the development of the story shows that today's Master Xing has made up his mind to say goodbye to the past: the film could have been what the audience expected or the direction of development, but this is not Master Xing's cup of tea. The film did show a series of miracles as the audience hoped, but the director finally regarded it as a daydream carnival. Although the shape, movement, expression and manner of Changjiang No.7 are extremely cute, and its body is extremely flexible, so it can really be "indomitable", but it is just a guy who poops and farts all day (the characteristics are set like the screen image of Master Xing). This relatively ordinary alien with three heads and six arms can only comfort the reality that the father and son live a meager but luxurious life by repairing the electric fan or changing an apple. Since then, the film has once again fallen into the suffering reality that has been temporarily forgotten.

The only glimmer of hope given by the director is that after his father was killed in a construction site accident, Changjiang No.7 brought his father back to life by changing his life (obviously inspired by the inheritance of internal skills in the martial arts world). This satirical climax, which is intertwined with sadness and joy, temporarily saved several pairs of father and son who were lost in reality, but did not bring any substantial changes to the protagonist's realistic predicament. Some of them can continue to suffer from the initial suffering. This film is far from Chaplin's film. In this frustrated little story, Stephen Chow really tries to keep a delicate balance between joy and sadness as the idol Chaplin is good at, so as to achieve the touching effect of tears in laughter, but he faces the risk of "tears in laughter": the irreversible fatal injury suffered by the protagonist has plunged the viewer's mood into an abyss, so that the happy ending of "airborne" countless aliens has almost become an illusion and is unacceptable.

On the surface, the film is about migrant workers in the mainland, but what flows inside is actually the childhood experience of Master Xing and the feelings of Hong Kong people. Star Lord was born in a single-parent family and raised by his mother, which vented his childhood misfortune and loneliness. The firm autobiographical ambition and brilliant * * * made this masterpiece show a rare spirit of self-mockery and innovative courage. However, this little daydream disillusionment story, which is comparable to Jia Xiaowu's, may be closer to Master Xing's heart, but it is obviously far from our expectations at the beginning of the new year. . . . . .

Slow half beat:

It turns out that love is like writing paper, and it doesn't need any labels.

The wind blew and another season came.

It turns out that lovers don't have to wait for commitment.

Like a sunny rainbow after the rain.

Let wisteria stay in the trace of broken walls.

Read my pale blessing

Loneliness again, the melancholy of kimchi

Let the bamboo fence enclose the pile of snow in front of the house

Just as I used to lie in the wind, needless to say, I have always been here.

I hope you like it. That's all I know.