I Went To The Cinema To See The Gains And Losses Of Eight Hundred

On August 14, I went to the cinema to see the "eight hundred" spot show, which made a lot of noise last year. After seeing it, I felt that the film should not adopt the strategy of spot show. Instead, it should take advantage of the popularity accumulated last year and the hunger and thirst of the audience to make a one-time large-scale public release in order to achieve box office revenue.

? ? "Eight hundred" gave me the feeling that the director did not really understand and feel the events he had shot. Instead, he just grasped the gold mine of the theme of "four element warehouse defense war", in which he built his own understanding of the so-called "national character", his infatuation with drama, his rigid adherence to cultural symbols and poetic symbols, and his understanding of the prosperity and civic temperament of Shanghai Stereotypes. At the end of this weekend, some public accounts were sparing no effort to publicize the film. However, there was always a feeling that "the film surrounding" replaced the "noumenon". After all, these are not what we need most in this era.

"Eight hundred" tells the story of the last battle of the battle of Songhu in Shanghai from October 26 to November 1, 1937. At that time, he expressed his sympathy to the commander of the KMT's No. 524 regiment, and fought for the support of the KMT's No. 524 battalion at the scene of the war with other KMT commanders. It is said that there were only 414 people (423 at one time) when the battalion arrived at the Sihang warehouse. However, in order to boost the morale of the citizens and confuse the Japanese army, Xie Jinyuan claimed that there were 800 people, which is the origin of the "800 strong men".

The film could have made this event obtain vitality on the big screen and leave its own words for history through the true description of history and the vivid description of characters. However, what we can see in "eight hundred" is that the director interprets the tragic and dedicated life in the storm of this era with relish in talking about the psychology of small people. The desire for survival of the characters overwhelms the moral and commitment of their hearts. The confusion of creative thinking is revealed in the greedy fear of death and blood sacrifice with the nature of performance. The "symbolic" tendency of human nature in the film shows that the director has no deep interest in the real four element warehouse defense war and the characters in it. Zhang Yi's "old abacus" is greedy for life and death, while Jiang Wu's is timid. When the troops retreat at the end of the film, he dances alone on the roof of the building, showing a kind of psychotic romance; Wang Qianyuan's soldier and Ou Hao's Hubei middle-class boy who has been arrested as a "strong man" in Hubei Province - before he died, the director arranged for his younger brother to be put aside I just don't want them to look at each other for the last time. The necessity of this arrangement baffles me.

That's how a lot of the plot of the film feels. Characters often disappear for no reason - for example, Ou Hao's uncle "Lao Hulu"; or they appear inexplicably - such as deputy commander Xie Jinyuan. In several plays after the troops entered the Sihang warehouse, the audience hardly saw the shadow of deputy commander Xie. The audience can clearly feel that the director is trying to show human nature through the constant performance of various and greedy brands. However, how much does this complicated human nature have to do with the events in the film? In history, Chen Shusheng, a dare to die member, jumped down the sixth floor with grenades strapped on his body and died with the enemy who tried to blow up the building. Instead of depicting the 21-year-old real hero, the director described Li Chen's Shandong soldiers strapped with grenades and prepared to jump in line like diving. Before jumping down, he was as good as a spring outing Love smile, let Ou Hao help him "tie up a little bit".

In the end, perhaps because Li Chen's part was not enough, Li Chen did not jump or die, which played a key role in preventing Ou Hao from meeting his brother before he died.

There are a lot of nonsense in the film. For example, after the battle of Songhu, the warehouse of Sihang, which has been the headquarters of the 88th division, has not even a telephone line. Why should the youth gang members and casinos open up one after another to devote their lives to the telephone line. There is no more description of the role of this telephone line in the film. Of course, the audience can imagine the important role played by the telephone as a communication tool in the war. However, in the key plot that could have been arranged to conform to the historical facts and reflect the role of the telephone, the director had to arrange an officer to sneak into the warehouse and express his helpless grief in the face of deputy head Xie. After watching the film, it's hard not to realize that Huayi is also an actor agency.

As if afraid of betraying Shanghai's mixed history and the beauty and ugliness of the city, the director arranged for the female boss of the casino to present the flag without saying a word, and then boldly took out two boxes of antibiotics. The national cultural symbols are represented by Peking opera troupes from watching the bustle to beating drums to cheer for the opposite bank; the crude poetic flavor is represented by the white horse in the warehouse and his runaway wandering for no reason; the integration of individual and national spirit is embodied by Ou Hao as Zhao Zilong in his younger brother's imagination Perhaps because he was worried that these were not enough for the audience to understand, Li Chen took a donkey shadow puppet with him. During the war, he performed a shadow play and sang a piece of opera for everyone. Similar plots and elements pile up higher and higher in the film, and are farther and farther away from the ground.

Let me feel that all the expectations of last year have turned into vain.

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