As everyone knows, "Let the Bullets Fly" is a work of literary film director Jiang Wen's commercial transformation. Its narrative of commercial genre films such as bandit films and American Westerns has made this film achieve impressive box office results; and "One Step Away" brings director Jiang Wen's romantic and crazy characteristics to the fullest. As the last part of Jiang Wen's "Republic of China Trilogy", "The Evil Doesn't Suppress the Right" is the perfect combination of his first two works "Let the Bullets Fly" and "One Step Away". The interior is as pure as the sea, the romantic anti-typographic narrative and the flame-like typified narrative that constantly stimulates the audience's senses are perfectly combined, creating the unique poetic dream image of director Jiang Wenning.
In the ethnically characteristic superman genre film
"Evil does not suppress the right", the Chinese "Superman" Li Tianran flies over the walls of the courtyard house with characteristics of old Beijing. It is a perfect combination of American superman genre movies and Chinese national characteristics. Jiang Wen wants to establish a superman with Chinese characteristics in this film, and the overall structure of the film also follows the law of typified narrative.
has always followed the clue of "the balance before the change breaks the calm one by one, the hero is killed-set off on the road again-encountered obstacles-completed the task" throughout the superman genre movies, and "Evil does not suppress the right" Following this clue to advance the narrative line, Li Tianran had a happy life with his master's family (the calm before the change), but Zhu Qianlong, who was collaborating with the enemy and treason, killed the master's family (heroes were killed). Li Tianran has the super ability to quickly dodge bullets. And escaped. Li Tianran returned to revenge after studying art in the United States (set off again on the road), but could not face the fear in his heart (when he encountered obstacles), and finally broke through the obstacles and killed the brother to avenge his master (complete the task).
The anti-type element of absurdity and romance
Under the rigorous typified narrative, "Evil does not suppress the right" is mixed with absurd themes and romantic and poetic juggling passages. In fact, instead of saying that Jiang Wen used typified narrative elements in this film, he would use this as a frame, and the space within this frame is like a blank drawing paper that limits the width of the paper. Ink is completely free.
"The Evil Doesn't Suppress Righteousness" uses a grotesque way to not stimulate the taste buds of the audience who are used to beautifying fast food. The highlight of the film is the performance of Jiang style actors. Peng Yuyan is no longer a "little fresh meat" with youthful ocean currents and youthful transparency in previous works. In the script, Jiang Wen's film's unique circumflex and exaggerated and bizarre performances, combined with the film's same weird editing rhythm, form an absurd and surreal style. The lines are also full of black humor. Whether it’s Lan Qingfeng’s motto "I made dumplings for this dish of vinegar," or repeatedly emphasized that "Cao Xueqin wrote "A Dream of Red Mansions" here. The interesting "distance effect" makes the audience unclear for a moment whether it is a reality or a dream.
The reality of the sea and the flames are blended.
Zhu Qianlong arrested the Koreans and Japanese who were making trouble. Zhu Qianlong told his opponents to "take the Koreans back and clean them up, and the Japanese let them take care of themselves", and afterwards It is self-evident that "evil does not suppress righteousness" to the masses. And this kind of metaphor is ambush everywhere in the film, whether it is the similarity of the portraits of Zhu Qianlong and Zhu Yuanzhang, the confusing identity background of Lan Qingfeng, and the realistic correspondence between Guan Qiaohong and the heroine Shi Jianqiao of the Republic of China, all add to this fictional enemy. A realistic background.
The blending of fantasy and reality in the film is exactly what Jiang Wen has always insisted on. After all, telling a legendary story is not his only purpose, and the fundamental principle of his story is the metaphorical expression of reality. Therefore, the typified narrative provides Jiang Wen with a smooth and rigorous story structure, and the core of his story is scattered and hidden in the anti-typological elements of absurdly romanticized treatment. Just as the excitement brought to the audience by "The Evil Does Not Suppress the Righteousness" is a fire-like stimulating and intense burning experience in the process of watching the film, and it is also a deep, condensed quiet thinking and aftertaste after walking out of the theater.
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