First of all, as the director of "Flying Life", Han Han has the same distinctive personal style as Jiang Wen. One is a northern man with distinctive personal characteristics and self-contained, and the other is an implicitly thoughtful Shanghai-style poet. Both have their own exclusive humor and thought in the film, but in terms of film aesthetics and artistry, Jiang Wen, a master of the industry, is even better. In Han Han's movies and Jiang Wen's movies, the design of the lines is a highlight. The lines of
play a more important role in the narrative and plot development of the two of them than in other movies, and they are also an important element of emotion and thought expression. The lines in their films account for a larger proportion, the rhythm is bright, and the content and expression are more refined. At the same time, such line setting and rhythm control have played a certain role in the formation of personal film style, such as Jiang Wen's generous humor and Han Han's relaxed and romantic humor.
No matter how serious the film’s production policy and theme are, it can create a comic effect in the narrative process. What Han Han wanted to say was how to love something with his life. It is true that this kind of enthusiasm is touching, but for most people, especially the Chinese, it is basically impossible. Because most people have no capital. Because of your life, there is still a part of your children, relatives, and people who love you.
has no regrets. Although it is better, it is what everyone pursues, but it feels that there is no need for recording and artistic. But I also pursue another thing, called "reasonability", and I feel sad and sad. To be honest, I don't like the ending of "Flying Life". Looking at Han Han’s interview, he has said that if the helicopter cannot take off due to weather problems, he will not take pictures this day for safety. So why is such a professional event specially arranged for such a dangerous finish? If you really want to set up this way, wouldn’t it be enough to add some safety measures? Was it difficult to avoid the last emergency? Of course, again, if this movie does not have the final protagonist and no tragic ending, then the level of the movie may have to drop.
But I don't like this kind of tragedy for the sake of tragedy. Therefore, the film is given a small section, explaining that Zhang Fei is not his biological son, and Zhang Chi does not have a wife. This, I think, is the emotional and logical core of the movie, a magical touch. There is no family, no wife, only a group of like-minded friends who have the same dream. So he is qualified to use his life to love racing. Some people say that he is not his biological son, but you are also responsible. In fact, Zhang Fei's setting is very subtle, that is, he gave Zhang Chi the identity of a father, but he did not actually restrain him. After all, he took on the responsibilities that did not belong to him, and did everything to raise the child to 5 years old. He owes no one, only himself.
Finally, he lived for himself once. In the end, did he lose the bet, an accident, or deliberately use his life to cross the line; after the car lost control, did he regret it or relieved it? I think it is Schrödinger’s cat, all in superposition state. Regret it, nor regret it, it's both a gambling, and it's not hesitating. Han Han's movie is like this, first-class configuration, and I don't think it is so good, but it is endless aftertaste. Although I am not the kind of person who seeks a happy ending, I also think that the true classic works are none other than tragedy. As a professional writer and director of non-disciplinary background, Han Han seems to be more comfortable with his writing. Therefore, he has also acted as a screenwriter in the three films he directed. In the first filming, writing was his profession, and the director seemed to him to be just an exploration.
