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Is it worth watching "evil does not oppress justice" as a film review of "evil does not oppress just

4hw.com.cn: "evil does not oppress the right" is an action comedy film written and directed by Jiang Wen, starring Jiang Wen, Peng Yuyan, Liao Fan, Zhou Yun, Xu Qing, etc. it is the sixth work directed by Jiang Wen and the end of his' Republic of China trilogy '.

After the premiere of "evil does not oppress the right", there are many arguments on the Internet, the most incomprehensible of which is to call it Anti Japanese farce, which not only hit Jiang Wen's face, but also the face of the Chinese audience. Jiang Wen's face can be beaten, but the audience ' Empty artistic creativity is also reducing our own aesthetic taste.

As a matter of fact, it is neither Anti Japanese farce nor one step away 2.0. "One step away" is publicized wantonly. Many people think that they can understand it only by one step. However, it's a private image of Jiang Wen. Only he can make clear the logic of Chu Ma walking in Japan and the feud between each character. It seems that a huge screenwriter team, afraid of their own duties, can't see the whole picture.

Jiang Wen has been experimenting with the image style and narrative structure since "the sun rises as usual". When "one step away" reached its peak, he finally realized that the audience still couldn't understand it. So in this new work, he set up a simple plot clue, and a clear dualism of good and evil, and changed his name to "evil doesn't overwhelm the right" that children all know. But if you do this, even the most No matter how good the box office is, it's not what he wants. He wants to play, he wants to play well, so he simply jumps into the film and becomes blue peak. This blue peak is by no means the blue peak in the original work of Xiayin. The blue peak in this is more like Jiang Wen himself. In the performance, he uses a very exaggerated and relaxed state to interpret the character. Both his speech and behavior are close to Jiang Wen himself in life. So it seems that Li's Revenge has become a task that needs to be fulfilled by "being in line with the rules". The encounter of LAN Qingfeng is the key to the interpretation of "evil does not crush the right".

LAN Qingfeng is a "person oriented". When he first came out, he happened to meet Hendler and Li Tianran, who came back from abroad. He wanted to go out to buy vinegar. He thought that eating dumplings dipped in vinegar was really exquisite. "Exquisite" is the key word in "evil does not oppress the right". At the beginning of the film, Li Tianran's master was telling everyone what is exquisite. Jiang Wen participated in the recording of Dou Wentao's "round table school" outside the play, and the theme is also exquisite. Jiang Wen and Mr. LAN are both committed to being a man of stress. Unfortunately, their performance in the film is not so exquisite. Originally, the clear water surface was stirred by big blue. The blue green peak in Xiayin was unpredictable, but Jiang Wen's performance of blue green peak was even more confusing: he helped Zhu Qianlong to fight against the Qing Dynasty and restore the Ming Dynasty, to kill Li natural, to help genichiro get rid of Hendler, to help Li natural get revenge, and to become his' Blue father '. At last, the audience couldn't understand the character Whether it's true or not, he is the tandem in the film's "true and evil" two factions, holding up the whole story.

This idea may come from Jiang Wen's childlike innocence. As the core character of the film, he is in the story and watches two people around him. He basically has rivals with actors other than his wife. He doesn't need to exert all his strength to perform at all. He sets laughter points for the audience in tense moments. In relaxed moments, he suddenly has a tight music, even the most tragic one Driving Li natural to duel, he holds the steering wheel and does not forget the last humor: 'I press the speed!' which makes it impossible to tell whether he is crying or laughing. Jiang Wen manipulates the audience's audio-visual experience with the help of his team's intention, and what he has to do is to enjoy the dream of the Republic of China, just like he has been enjoying the treatment of the stars and the moon in the Chinese film world, which is so fun!

But childlike innocence may not work. The show of "let go of yourself" is still difficult to integrate in the eyes of the audience, and it is particularly tangled. On the one hand, it is close to let the bullets fly, and on the other hand, it is close to the author's expression of "one step away". The audience and Mr. LAN are sandwiched in the two sides, starting a two-hour long tug of war. The whole process of watching the movie seems to be particularly twisted. The final result is also different from person to person. The audience who can be won over by Jiang Wen thinks the film is good, romantic and happy; Those who are not striving for the past will naturally have the feeling of "rotten film" Anti Japanese drama ", but Jiang Wen doesn't care about these right and wrong. From the moment when he jumped into the story, the film's" play attribute "is doomed. It's good to have fun by himself. Why care what others think?

But in his early years, Jiang Wen was not like this. His works such as "sunny days" and "here comes the devil" are not only neat, but also elegant and popular, which can be photographed into people's hearts. Why does he become so playful now? It's really just because he's getting older and starting to be free and easy. We can see a slightly heavy plot in the film. After Zhu Qianlong catches Mr. blue, he doesn't kill him. Instead, he puts him in the black house first, so that he can't see any light. Mr. blue yells: "how can I know which day is which day?" When he was released, he went his own way. He still adhered to his plan. After catching him, Zhu Qianlong could shoot him dead, but he didn't. instead, he asked his subordinates to pull out the teeth of Uncle LAN one by one, which made him unable to speak clearly. This period is extremely cruel. With the realistic sound effect, it makes people feel numb. The sensory fear is second only to the Holocaust at the beginning. When he can't speak clearly, the charm of the character is lost. He becomes dispensable and even ends up in a hurry after sending General Zhang. It can be seen how important speech and expression are to Yu Lan and Jiang Wen, which seems to set off Jiang Wen's dilemma in film creation. He hopes to speak well and speak well about what he wants to say, but it's hard to speak because someone 'pulled out his teeth'. This reminds me of a small thing he mentioned when interviewing Jiang Wen at the Shanghai Film Festival: after the banning of the ghost, Jiang Wen once ran for the film, but in the end, he still worked in vain. Jiang Wen angrily said to the 'those people', "you'd better do this every day.". It's just like blue Qingfeng thinks he's intelligent, but he can't break this game. It's sad.

It's also worth pondering about the satire of critics. It's a very abrupt and completely jumping play. Besides, the role of Pan Gonggong played by Shi Hang has not much functionality. It seems that it's just to say those lines. The most direct "hard connection" is a big failure of the film, which completely destroys the integrity of the work, but it's also from another perspective The embodiment of Jiang Wen's courage. In fact, every Chinese director is more or less troubled by critics, who can define a film or even influence the box office by writing and speaking, which has become the most difficult group to provoke. Speaking without scruples, like Feng Xiaogang, also only dare to spray on Weibo and chat on the forum. In private, we still have to make friends with each other. But Jiang Wen is not so duplicitous. If he can't see the style of the current movie critics, he will attack them in the most direct and vigorous way. And he will find his younger martial brother Shi Hang, the so-called big movie critic, to make a guest appearance. Although the motivation of Shi Hang's willingness to play such a self mocking role is puzzling, it's undeniable that Jiang Wen has created a precedent of linkage between text and reality, breaking the precedent of Wen Ben's fixed boundaries, fully integrated into their own thinking, this courage is worth appreciating.

Jiang Wen in reality and LAN Qingfeng in the film are both people who lost their way. LAN Qingfeng went wrong one step and almost died. Jiang Wen gradually lost his way in his creation. He would pay for his childishness and courage, but he would not die. But he needs to face more criticism and do more things he didn't want to do, such as fancy things《 Creating 101 is a kind of propaganda, but also listen to the harsh people's evaluation of him. There's no way. In the current impetuous entertainment environment, it's so difficult to do something unique. It's just like blue green peak can spend his whole life idly, but he has his own mission and ambition. Even if outsiders can't understand him, he's' though thousands of people have gone '. It's the same with Jiang Wen. You can not understand him, you can criticize him, but you shouldn't scold him, and you can't impose a qualitative analysis on "evil doesn't oppress right" with your own thinking mode. Because it's not that Jiang Wen doesn't speak human words, but that he really can't speak some words.

To sum up, the movie is not perfect. As an 8-year fan of Jiang Wen, it is difficult to give high marks to the movie. After all, there are obvious problems in the rhythm of the movie, and the effect of some joking elements is not satisfactory. However, many meaningful lines and characters are still worth exploring, so the final evaluation of the movie has room to rise, rather than directly cover it The coffin is decided. In particular, I want to praise Liao Fan's performance. This year, I saw two different ways of his performance in "Jianghu children" and "evil doesn't suppress justice". They not only performed the calm and desolation of the boss of the Jianghu, but also created the ugliness and humor of the good shameless villain. Since it is "evil doesn't suppress justice", how "evil" his performance determines how "right" the film is. Finally, what we present is one An impressive villain. From the third man in "let bullets fly" to Zhu Qianlong now, Jiang Wen has not only fulfilled his promise to Liao Fan, but also completed the adjustment of his performance. Looking back in a few years, it may be a good story for directors and actors.