Recently, I reread the novel "Fighting in the Heart of the Enemy". Based on this novel, the film "The Gunshots of the Security Bureau " was released in 1979. It was watched by 600 million people and received 180 million at the box office. It became the box office champion of the year. A milestone in the new Chinese spy film.
The cover of the novel "Fighting in the Heart of the Enemy"
"Fighting in the Heart of the Enemy" This spy novel was published in 1960 and republished in 1978 by Lv Zheng. According to the author, in 1958 he began to plan to write a memoir based on his experience in the struggle in the enemy area, and later wrote this novella under the guidance and help of Shanghai Writers Association and "Liberation Daily". It can be seen that this novel is based on real life, and even the characters and events have prototypes. It is believable to read.
The poster of the movie "The Gunshots of the Secrecy Bureau"
Let's look at the current spy war dramas that dominate the screen. There are many excellent works, but a considerable number of them have already entered the "anti-Japanese drama". The reason why the "Anti-Japanese Drama" was criticized was that it gamified and ridiculed the cruel war, and appeared overly exaggerated, time-traveling, and unreasonable scenes. Now a considerable number of spy war dramas are following in the footsteps of anti-Japanese dramas, making spy war stories amazing. The reason why the spy war drama is not regarded as a divine drama is because the spy war itself has its own mystery. It seems that the more mysterious it is, the more attractive it is, and the more it becomes a spy war drama. After reading the novel "Fighting in the Heart of the Enemy", this feeling is even deeper. Let me talk about the common problems of current spy war dramas, is it more and more like spy war dramas?
First, webmasters are flying everywhere. As long as it is a spy war drama that reflects the army and , there must be a webmaster. I don't know what the official rank of the stationmaster is, but Zhang Zhongnian, the villain in the novel, is the leader of the second action team of the Shanghai Security Bureau (Juntong). That is to say, at the age of fifty, he was born in the fifth stage of Huangpu, and has worked hard for more than 20 years. It can be seen that it is not so easy to be a webmaster. In the spy war drama, these young webmasters do not know how they became.
Second, spy fighters are talented. In the novel, information is to be transmitted, which is basically a phone call to arrange a meeting time and place to exchange information. This was the normal means in those days when communications were underdeveloped. At that time, there were very few telephone calls. In the novel, Liu Xiaochen was in a hurry to send information and could not find the telephone. Looking at the current spy movies and watching several underground workers pass on information, I feel that ordinary people can't do it at all. A cobbler rhythmically tapped out the code when he was nailing the soles of his shoes, and the connector stood by and listened, accepting the task. I don't know what talent is capable of this. There are also connectors tapping each other's fingers on the desktop to teach and talk. I know that the Chinese telegraph code is four numbers representing a Chinese character. How many times you can type out the four numbers, and you need to convert them into the corresponding Chinese characters immediately. The basic thing is to memorize the dictionary.
3. Living conditions go through the ages. The protagonist of the novel, Liu Xiaochen, is a captain of the Secrecy Bureau. The car that Shi Xiuying drives was borrowed from her upper-level work object when the task requires it. The main scenes in today's spy movies are mansions, hotels, and cafes, especially cars, which are almost always available by hand. Not to mention that before liberation, reading a novel from the 1950s, the county public security bureau rode bicycles to the scene of the crime. I remember when I was a child, in the 1970s, there were no cars in the county seat. The county party committee and county government only had jeeps. Cars of the 1940s were an absolute luxury. Therefore, some people say that the poor life of the underground party described in "Borrowing a Gun" is more realistic and credible. But now many directors use the current material conditions to interpret previous stories, and it can only be said that he has passed the era.
