text/Luo Shen
"Every time you lose your temper with me, I will never tire of it. You are so beautiful, I can't bear to interrupt." Professor Wan Zhenggang (played by Fan Wei) slowly screamed at his wife Lin Bai Yu (played by Chen Shu) said.
A shot from the side down shot the cowardly Wan Zhenggang within Lin Baiyu's sphere of influence.
Teacher Fan Wei's online "Greasy Teaching" made all the audience in the theater laugh. At that time, Lin Baiyu always felt that Wan Zhenggang's cries and laughter were all controlled by him. She must have never expected that the collapse of intellectuals is far more powerful than her shotgun. The audience did not expect that "Chang'an Road" gave such an unsuspecting and expected story.
Anti-type
In recent years, Mainland crime suspense films have continued to follow a creative line of "commercial + realism" that has accumulated a lot of hair and occasionally produced excellent works, while Hong Kong crime suspense films have been reduced to continuous use of sequels "fried cold rice" and serious actors. The embarrassing situation of stereotypes. Under market conditions like
, looking back at "Chang'an Road" directed by Li Jun, there is indeed a sense of novelty worthy of comment. The
movie "Changan Road" is adapted from Hai Yan's novel "The Pirates of Changan". It tells the story of Zhao Hongyu (Jiao Junyan), a criminal police officer, as an undercover agent under the cover of his partner Shao Kuancheng (Song Yang) because of a large-scale national treasure theft. Investigate the story of his biological father Wan Zhenggang and his current wife Lin Baiyu.
Compared with Li Jun's last work, "The Great Reversal", "Chang'an Road", from a genre perspective, conveys an "alien" temperament that is different from most suspense crime films. "The Great Reversal" is a very neat commercial film of crime suspense. Whether it is plot weaving, character creation, or audiovisual presentation of action scenes, it is an expression that conforms to the genre.
Therefore, we watched the action scene of single-handedly against a group of people in the Lee Jung-jae Building. We watched the scene of shooting and saving the heroine from high-rise buildings. These are the viewing experiences that commercial films should and must provide.
Of course, director Li Jun already revealed some extra-system explorations in "The Great Reversal"-you thought that after the case was solved, the male and female protagonists would both return their homes, but the movie came to a halt ambiguously due to a sudden car accident Up.
Li Jun
arrived in "Changan Road", the director directly chose an anti-type approach.
is the narrative perspective first. A suspenseful crime story, but the ending is directly given to you at the beginning. At the beginning of the
story, the first female Zhao Hongyu and the second Lin Baiyu died-the audience was beaten.
In this situation where the ending is known, the film did not compromise the suspense of the story and the strength of the latter half of the reversal. After breaking the case of the smuggling of cultural relics gang, the subsequent plot also created a lot of surprises-the coffin was stolen after the case was solved. But the overall narrative focus does not follow the case. There is no in-depth case-solving process, but focuses on the relationship between characters and emotional trends.
And the weaving of these plots all boil down to another sense of surprise-the accident of human relations.
The father played by Fan Wei holding his bloody daughter shouting at the beginning of the story, including the image of Professor Wan Zhenggang who has been paving the way for the first half of the story, is "difficult at both ends, father love is like a mountain", and has given "warmth and tears" to the audience "The type of crime suspense expected in the ending.
but in fact it is, never expected. The most conventional "undercover" plot in the
crime suspense film is also used in the opposite direction. Zhao Hongyu, played by Jiao Junyan, is probably the most high-profile undercover. The reason why this unconventional undercover agent is so atypical is precisely because the director’s foothold is not at the plot turning of Hong Kong-style crime films like "Guess who is the undercover" and "Guess who is the black police", but on the plot. Human relations and human nature.
In fact, "Chang'an Road" has tomb-robbing plots, police and criminal shootouts, and undercover plots that are very popular among the general public. However, the director did not display too much on this commercial element, and did not deliberately cater to a certain aesthetic, which is in the traditional sense. Happy ending.
The subtraction of commercial elements highlights the human relationship and is the most inverse type of "Chang'an Road".
Emotional Suspense
"Chang'an Road" seems to be about the detection of a case, but in fact it discusses the curious people.
This kind of creepy foothold is actually the father and daughter of Wan Zhenggang and Zhao Hongyu who have been enlarged to examinerelationship. The reversal of the relationship between father and woman is one of the most striking suspense settings in the film. From this perspective, the reason why "Chang'an Dao" is anti-type is that it focuses on a kind of emotional suspense in a state of human nature.
Therefore, the director chose a non-linear structure to narrate. One is to break time and space and continuously analyze the relationship between characters and characters. Secondly, the rhythm of flashbacks makes it clearer how the tragic ending happened and is destined to happen.
On the video, the director's skill is worthy of recognition.
The most impressive thing in the whole film is a scene between Professor Wan and his daughter Hongyu in his home yard. The scene of
is very exciting in terms of temporal and spatial structure, image scheduling, and emotional processing of father and daughter.
was originally a flashback to the past time and space. Zhao Hongyu was taken back to the small courtyard of his hometown by his father. His father carefully arranged the small courtyard and hoped that his daughter would live here, and he expressed feelings of the happy time with his daughter when he was young.
Then, Hong Yu refused his father and left angrily, and moved the camera to the alley outside the house with Professor Wan. The time and space at this time was rather ambiguous, and it could still be the time and space in the past, or the time and space after Hong Yu was dead. The last shot of
was not cut, and followed his father's line of sight to the roof and sky, Xiao Hongyu walked on the eaves when he was a child...
This is a single shot that uses a lift schedule to transition across three time and space. The delicate emotions of the father and daughter came out.
The shots of "Chang'an Road" as a whole are relatively fragmented, which interferes with the performance a lot.
As the director said in the interview, when a person’s expression is cut out of three shots and a little bit of detail is separated out, the process is amplifying the mental activities of the actors. All the power in the film lies in the character. He hopes that the audience can feel the character more clearly, to highlight and enlarge all the performance details of the actor, so that the audience can see the character more clearly.
So the snake-scorpion Lin Baiyu, the brave Zhao Hongyu, the tangled Shao Kuancheng, including the Shao Kuancheng girlfriend who swept away and said "I don't want to die for you", they all gave them accurately.
What moved me most in the whole film was the director's design of the space.
Professor Wan’s old house is the most interesting. The warmest and cruelest extreme situations of the whole film take place here. The good memories of father and daughter are in the old house, and the cruel and cruel human nature is also in this old house. The old house is the inner independence and ideal spiritual space of intellectuals, while Lin Baiyu's mansion is a material life that intellectuals are unwilling to give up.
Li Jun and Fan Wei on the set of
The Chinese Taste of Suspense Film
Wan Zhenggang, played by teacher Fan Wei, is the most complicated and surprising character in this year's domestic films.
Wan Zhenggang is a successful university professor. He is low-key, humble, concentrating on learning, not in the world, and a little pedantic and a little cute. He is a father who feels guilty for his daughter, because he once abandoned his wife and abandoned his son, so he pleased and compensated his daughter in every way, took risks at all costs, and looked like a loving father. From the perspective of his current wife Lin Baiyu's relationship, he is again a cowardly man who has been suppressed and betrayed by his wife for a long time, and finally broke out.
Wan Zhenggang's character image is the eye of humanity and emotion in the movie. It is a core role of dramatic conflict. He represents a typical intellectual image.
has family crises, the entanglement of pure ideals and material temptations, and the dilemma of "single-minded academics" and maintaining image and face. There is a scene in the film. Wan Zhenggang said that when he was writing, he would imagine that he was a real emperor. The pride, illusion and self-paralysis in the bones of intellectuals were precisely controlled by the director.
Wan Zhenggang's "honest man" in the first half and the hideous man in the second half caught people off guard. The climax of the
movie is the moment when the truth is revealed. Professor Wan tried his best to maintain his pitiful dignity regardless of the moments of his daughter's life. The gloom, cruelty and selfishness in human nature were shocking. What is interesting about
is that Wan Zhenggang and Shao Kuancheng are mirror images. In the crisis that the previous generation of intellectuals encountered, the new generation has new choices. Therefore, Shao Kuancheng's hesitation and dilemma are always presented in the film. The character image of Professor Wan
is the place where the Chinese flavor is reflected in this suspenseful movie.
The Chinese flavor of "Changan Road" is still in the story text. History and strange love stories form intertextuality.
director Li Jun’s author Xiang ZhezhenIt's more obvious now. The explanation of the death of Concubine Wu Hui in the film contrasts with the relationship between Professor Wan, Lin Baiyu, and Zhao Hongyu in the movie story-it is the woman who sacrifices in the end.
Professor Wan's depravity, Shao Kuancheng's hesitation, made Zhao Hongyu's idealistic brilliance extremely dazzling.
From this ending, the director is really merciless. From the perspective of analyzing the weight of human nature, "Chang'an Road" is a rare and valuable domestic film that must be supported.
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