When Li Rengang directed "The Climber", he made a drastic adaptation of Alai's original work, which can even be said to be a painful adaptation.
It is difficult for us to make a fair, fair and scientific assessment. What is the original work of Alai is wonderful, but now the "Climber" directed by Li Rengang is more infectious.
After all, Alai’s original script was not made into a movie. What we saw was a reprocessing of Li Rengang based on Alai’s original work that focused more on the rendering of visual effects. If
is filmed in accordance with Alai’s original work, we can at least see that, as a novelist, Alai did not consider the visual effects of the film when writing the script.
We took a rough look at Alai’s script. In fact, many of his expressions in the script could not be filmed into images:
First, Alai wrote in the original work that he was timid but unreasonably accused the mountaineering team. The "mask man". An image like
can only appear in a black humorous movie. If it appears in "The Climber" with such a "mask man" to represent the blind command of that era, it is obviously only an anomaly. Later, Alai dismissed the role and got a deputy political commissar. He basically did nothing in the script. The inaction of the political commissar in the movie now still bears the shadow of Alai's original play.
Two is the original work of Alai who sets Xu Ying as Fang Wuzhou’s wife, and divorces him by preventing him from climbing.
In the script, Xu Ying’s image is very clichéd. She disagrees with Fang Wuzhou Mountaineering and directly chose to divorce. However, she later joined the mountaineering team. After that, her relationship with Fang Wuzhou in the script has never been salty nor indifferent. It is also because of seeing Fang Wuzhou and Zhao Junyi who have been close to each other, and had emotional jealousy, the tendency of love triangle appears in the movie. Such a setting is too ordinary, not conducive to portraying characters, and interspersed in the movie is even more redundant.
Li Rengang's "The Climber" has always treated Xu Ying and Fang Wuzhou as unmarried, so that the two have always maintained an emotional "advanced and retreatable" couple position. Obviously It is more innovative than the non-embarrassed state of "different ways and not conspiring" between husband and wife in Alai's script, and the shooting also has a sense of passion. At least in "The Climber", when Xu Ying When the important climbing window information provided a feasible path, Fang Wuzhou was pleasantly surprised, hugged her, and the only kiss in the film appeared. Although there are disputes about the plot, the benevolent sees different, the wise sees wisdom, but at least It adds a bit of ups and downs to the film, otherwise, according to the plot provided by the original script, it is only an introduction to the mountaineering account, and there is no portrayal of the characters at all. It will be like a movie if it is made. In this way, the treatment in the movie is, It is more visible.
Third is that Li Rengang added thrilling action scenes in "The Climber".
It can be said that there are seven thrilling scenes in the film including slips, avalanches, and falling into the crevices of the ice. There is a thrilling scene almost every seventeen minutes, and there is no such thrilling scene in Alai's original work. The design of the scene.
The touching Li Guoliang who broke the rope in "The Climber" is just a general explanation in Alai's original script, but under the processing of Li Rengang's lens, it is quite shocking. Therefore, Li Rengang is "The Climber" The color of the image is still indispensable.
Li Rengang re-organized the emotional clues of the characters in "The Climber", with a larger length, strengthened the process of acquaintance between Fang Wuzhou and Xu Ying, and also added the influence of the Soviet mountaineering team master on the Chinese team. The impression of the times is heavier than that of Alai’s original script. In the movie version of "The Climber", the emotional performance of the other side Wuzhou and Xu Yingjian on the strings has been accumulated layer by layer, until the top of Mount Everest. At least it seems that Li Rengang’s "Climber" turned into a visual image has injected an ever-increasing emotional chain into the film, making the emotional line and the climbing line in the film rise simultaneously, forming the career line and emotion in the film The double climax of the line has brought the movie to a par with the highest point. From the artistic point of view, it is worthy of recognition.
Of course, because the couple relationship between Alai’s original Chinese Wuzhou and Xu Ying was changed to a couple’s relationship, the age of the two people is no longer suitable for dating in the movie, so a character marriage is formed.The embarrassment of marriage. This cannot but be said to be the inevitable helplessness caused by Li Rengang after following the character design of Alai's original script and making a reset.
In addition, in "The Climber", Li Rengang also changed the tendency of the looming negative characters in the original script of Alai to intervene in mountaineering. The addition of such a plot will definitely make the theme of "The Climber" deviate from its publicity. The high part, therefore, the film has abandoned such conflicts. For this reason, the movie version of "The Climber" added the conflict between Fang Wuzhou and Qu Fenglin, which did not exist in the original script. The reason for this conflict was also added in the movie. When Fang was climbing in 1960 Wuzhou threw away the camera in order to save Qu Fenglin, which caused Qu Fenglin’s dissatisfaction. The original conflict did not form a strong confrontation between the two people in the movie, but now Li Rengang has developed this contradiction in the movie. Although somewhat far-fetched, it has strengthened the character conflict between Fang Wuzhou and Qu Fenglin, which is undoubtedly correct from a dramatic point of view. It can be seen that it is not appropriate to work hard in the original script in the movie version of "The Climber" In addition to the contradiction reflected, the conflict between Fang Wuzhou and Qu Fenglin was re-determined. This conflict did not form a consistent opposition in the film. Therefore, later, in the decision of whether to climb or not, the two people once again Conflict, but still unable to help portray the image of the characters, led to a drastic change from Qu Fenglin's insistence on climbing at the beginning to the assault on the summit of the opponent Wuzhou. The plot in the movie formed a pattern of line struggle. It makes the conflicts of the characters more concentrated, which is obviously more dramatic than the erratic character of Fang Wuzhou who insists on climbing to the top despite his safety, sometimes calmly handling, and rich in rationality in the original script of Alai.
In "The Climber", Li Rengang presents Li Guoliang as a photographer operator, which is more natural than Alai's original script. In the original script, Li Guoliang played the harmonica to win Black Peony’s favorite. This kind of plot has been used too much in film and television dramas. Now the movie is directly changed to Black Peony learning to take photos from Li Guoliang, which makes the movie revolve The main thread of "camera" has obtained a narrative central clue, which can also be regarded as a chain of clear plots in the movie. In this regard, it cannot be said that Li Rengang has performed dramatic processing on the material provided by the original script, which makes the plot of the movie more refined and the characterization more concentrated.
On the whole, Li Rengang’s biggest advantage is to inject strong visual effects into "The Climber", and such an effect is not difficult for Li Rengang.
In the 2016 "Tomb Notes" directed by Li Rengang, we will now look back and find that some basic elements of "The Climber" have appeared in the movie.
"Climber" reflects the sport of mountaineering. Its thrills are nothing more than the "slip" caused by the snow-covered mountain slopes and the "cliff falling" caused by the cliffs, and these two elements are the same in the "Tomb Notes" A large area appears.
"Tomb Raiders Notes" won 1 billion box office that year, which is considered to be a complete merit, but the audience's evaluation is not high. The key is that the plot in the movie is too simple, there are almost no characterizations, and the special effects are too simple. The "worms" in the tomb of the form are made without texture. This responsibility cannot be placed on Li Rengang. Novels like "Grave Notes" can be viewed from the perspective of online literature. Once included in the authentic In the literary framework of, you will feel that the content is similar. After making a movie, you immediately feel that the theme of "Tomb Notes" has no new bright spots in creativity. In addition, the inherent shortcomings of characterization quickly made this hot IP of the year. The creativity cooled down, and the subsequent web series shooting of "Tomb Notes" fell silently into a situation where no one cares about it.
"Tomb Notes" has a magnificent view of the Himalayas from the beginning. In the perspective shot from above, the white mountains are turbulent like rushing waves, although Li Rengang was shooting this movie. , It is made entirely with special effects, but it is a very simple and easy operation to transplant the continuous pictures of the mountains on the top of the world in the film into "The Climber". In
"The Climber", there are roughly three thrilling actions designed by Li Rengang. Note that this kind of thrilling action does not exist in Alai’s original script, because Alai did not regard Fang Wuzhou as a mythical figure who can fly over the walls. In this sense, Fang Wuzhou in Li Rengang’s lens With no cannibalismThe otherworldly atmosphere of fireworks.
First: It is the speed of life and death of flying. In the seventh thrilling passage of
in "The Climbers", the mountaineering team encountered an avalanche. The overwhelming avalanche collapsed and pressed against the helpless mountaineers. Only Fang Wuzhou jumped into the air and flew towards the broken ice. In the fissure, I grabbed the ice on the opposite side with crampons, and quickly set up a suspension cable across the fissure, allowing the team members to slide over one by one, and escaped the avalanche.
And in "Tomb Notes", we see that in the huge underground palace, in the process of approaching and moving away from the rotating giant gears, the two roles played by Jing Boran and Lu Er also unfold Feiyan here. A series of leaping actions that complement each other in one go, such as volley flying, rushing, and grasping, completed a thrilling demonstration of height, speed and span.
It can be seen that Li Rengang knows that this kind of volley-flying display of height, speed and span can create a thrilling and exciting impact on the movie lens. Therefore, Li Rengang transferred this set of action designs that he knows well to " In "The Climber", in "Tomb Notes", it is only the performance of the heroes of the rivers and lakes to show off their magical skills, and in "The Climber", it becomes a wonderful reflection of the spirit of sacrifice, with a kind of difference. Ordinary sublime meaning. This is also the reason why the same sacrifices and sacrifices in the main melody movie will bring us a stronger shock.
At this point, "The Climber" producer Tsui Hark should have a deeper understanding. The interpretation of the same vigorous action in "Take the Tiger Mountain Out of the World", which he directed, is far easier to get the audience's approval and resonance than the same kung fu show that he is not inferior in the martial arts film.
Second: The life that fell into the cliff hangs by a thread.
"The Climber" has repeatedly shown the great danger brought by the snow mountain slide. The most typical scene is that when the mountaineering team is camped on the top of the mountain, it is hit by a strong wind and the tent is swept away. I saw that the players were scraped off like pieces of paper and slipped into the slope, and this thrilling scene is not in Alai's script. Through this thrilling description, the literary and opera part in the tent in Alai's script has been directly turned into a shocking fragment with strong visual impact.
"The Climber" also repeatedly appeared in the thrill of falling into the cliff. And all of this is also a universal technique used repeatedly to construct visual wonders in movies in "Tomb Notes". For example, in the beginning of "Tomb Notes", the role played by Jing Boran kicked a huge piece of wood, and directly pushed two gunmen executioners out of the way, sweeping the two people off the cliff. It didn’t stop, and then it showed that the rope on the wood was connected to the other end. The rope was continuously drawn out and flowed down the cliff, but the shot still didn’t stop. The wooden stake holding the rope was also dragged, and then brought again. The cloth rushed down the mountain. Li Rengang is connected through a series of causal actions through the combination of moving and flowing lenses. This linkage of
has also been brought into full play in the cliff-falling passage in "The Climber". Obviously, it has shown enough crises in the camera, but Li Rengang still has not stopped to overweight the visual effects and continue to use A series of attached actions deepen the dangers that have been in place before, thus forming a strong cumulative visual pressure. Transformation in the movie is an extremely high restoration of the difficult weight and weight encountered by the climber. From this point, you can see Li Rengang's sincerity in visual restoration.
Third: It is a threatened egg under the pressure of a heavy object.
"The Climber" shows that Fang Wuzhou once again demonstrated his magical skills when Xu Ying was facing a dangerous situation where a huge boulder fell from the sky. He used the power of life to block the flying boulder and put Xu Ying away. Rescued the danger.
And this plot is not in Alai's script, but this paragraph is the most important "last mile" that deepens Fang Wuzhou and Xu Ying's emotions. From then on, Xu Ying can be said to have an emotional gap between Fang Wuzhou and Fang Wuzhou. It also disappeared, which paved the way for the final dramatic sublimation of the film.
In "Tomb Raiders Notes", the heavy object falls down and presses against the body, which is a common type of tension that frequently appears. It can be said that Li Rengang transplanted its habitually created crisis in action films into a documentary film, making the action scenes in "The Climber" greatly value for money over the real evil.Therefore, in "The Climber", the crises and dangers encountered by climbers are restored extremely authentically, and exceed the dangers encountered in real mountaineering. This kind of danger is exactly what Li Rengang will The handy action routines in the thriller and adventure movies make a little translation that is not easy to learn and perceive, so that such an effect can be achieved. It is a stunning burst of effect, which shows that the visual effects of "The Climber" surpass and overwhelm its spiritual connotation. .
Of course, from another point of view, this is also one of the shortcomings of "The Climber", that is, it uses a large number of martial arts films to add some standard actions to the visual effects of a documentary film. In fact, to some extent, it weakens the original touch of people brought by the authenticity of the event.
But we still have to say that Alai’s original script did not show the real events and touching, especially Alai’s script, which lacks action and action. The dialogue between the characters is a kind of choppy, babbled, domestic routine. It is difficult to attach three-dimensionally to the character images in the movie. In this sense, Li Rengang boldly kicked the script written by the Mao Dun Literature Award winner out of all the story frames to reinterpret it. It can be seen that Li Rengang has a great idea about the movie. He knows what kind of perseverance and soberness can make the film look good. Although it is often more embarrassing that the original works can hardly provide the kind of spiritual core that Li Rengang needs, but Li Rengang has at least completed his own body in terms of visual effects. This is the greatest intellectual support that can be made for the director.
