Wang Shichun: Babai shoots are not adherents, but onlookers

Guide: It can be said that it was our reviewers who saved this movie under the banner of "saving the industry" through deletion and review.

[Text/Observer Wang Shichun]

I have watched the movie " eight hundred ". This movie, twist. Why

twisted the bar, we must start with what kind of film tube tiger wants to shoot.

After the people were not as spectators, they chose the right path

reflection + human nature = river 殇?

Guanhu filmed is not a story of pure persistence and waiting for victory like "Brest Fortress"-if that were the case, the film texture would be much better than today's final version. As far as Guan Hu is concerned, it seems that he wants to shoot "Yu Bai" as a story about spectators.

During the interview, Guan Hu had his own views on why the "eight hundred heroes" had been fighting alone in history.

Historically, due to the corruption and incompetence of the Kuomintang and , the hope of the war of resistance lies in international mediation. Therefore, almost all the main forces of the Central Army and the miscellaneous army were lost in the Songhu battlefield, which was not suitable for the decisive battlefield. After losing the big field, the Chiang Kai-shek group, in order to further express its determination to resist the war to the League of Nations, placed Xie Jinyuan's 542 regiment on the edge of the concession and tried to use international public opinion to force the Japanese army to withdraw.

However, when Guan Hu was interviewed by Southern Weekend, he opened up the main perspective of "Eight Hundred" and focused on the numb masses on the other side of the river. Guan Hu said in the original words: "On that day, more than 30,000 people were watching on the other side. There were a lot of blindly spectators. As the war intensified, they all kissed, they were all their own people, they began to devote themselves and began to feel compassion." When facing the Japanese invasion, the people in the concession in the movie "Yaobai" mainly showed "watching" and "anxious". The "Songhu Battle" that seemed to last three months just started on October 30. same.

The people in the movie "Yaobai", when faced with the Japanese invasion, the main performance is "watching"

But when we look at this movie with the connotation of "watchers", we can understand the "climax" of the movie Will be so twisted. The first half of the film showed excellent battle scenes and battle editing, but then the film "style changed" and became a "fleeing" story.

Many people say that this movie is not "logical", it is a flaw in the plot. But if we take a typical "reflection" narrative film like "The Devil Is Coming" as a reference, then the "logic" in the second half of this film is actually sensible-the climax of the film is nothing more than "the death of a warrior" After that, the coward became a warrior and died, and the survivors are the typical narratives of "cowards".

hero Xie Jinyuan succumbed to the instructions of the special commissioner and retreated. The "melon counseling" and Bingyouzi hit and killed , as well as the warrior who got on the bridge first. Who is the last to survive? Cowards and spectators.

Perhaps, this is why Guanhu put a large number of bridge sections in the concession, because the "Chinese people" in the concession are the subjects Guanhu hopes to shoot.

It is true that fighting alone does have the effect of educating the people, but today, decades later, in addition to the war itself, it is far from enough to focus on the historical aspect of "spectators" in the film.

's final version of "Eight Hundreds" is presented to the audience with many complex character "breaking soldiers and deserters" as the protagonists. This kind of "little people" during the period of the reactionary Kuomintang rule naturally has many shortcomings, and the director can also say " "Human nature" is used as a reason to pretend to be Lu Xun's criticism. But this is not an excuse for Guanhu to wantonly discredit Regiment Xie Jinyuan and the 542 Regiment by using various bridges that did not exist in history. The biggest slot in the

movie is that Guan Hu described the national army torturing and killing Japanese prisoners in an extremely positive attitude. Under Guanhu's lens, the highly qualified soldiers of the 88th Division who were gratuitously discredited "dare to slaughter Japanese prisoners of war", while the strong men of the miscellaneous army "have no guts to shoot and slaughter prisoners of war."

And in history, the hero Xie Jinyuan did not kill prisoners, this is undoubtedly the private goods of the film. There are already a lot of people who reflect on the national character, but if the works use distorting historyIt’s hard to say that people will think of Lu Xun first, or "He Shang".

Guan Hu also used the actor's mouth to express his own values: It is precisely because you "spectators" are not bloody that the Chinese nation will be ruined. The bridge segment in "Yaobai" that has never happened in history is a continuation of the criticized theory of war horror. It is also a kind of historical nihilism, and it can even be self-coated with Japanese right-wing speeches as "victims". Resonate.

"What we look like"

is as bloodthirsty and barbarous as fascists, advocating massacre, while setting aside history and unwarranted accusations of "spectators", which may have nothing to do with the consistent contempt of history and the people by the superior artists. Contempt makes it difficult to have real cognition, and lack of cognition can only pinch the "Rivershang"-style reflection and the "angry youth"-style agitation together, hanging one's own "creation" at the two extremes, affecting the theme of the film.

People who sway between the two extremes, when they need to sing praises, will say that the people’s use of anti-humanity and cruel means to fight against imperialism and aggression is "killed well"; when they are placed on the other end, will they turn it around? The image of the masses of toiling people is linked to the backward and ignorant "thugs", and the masses' spontaneous anti-imperialist and oppressive movement is called the "Boxers"?

Exaggerating these irrational behaviors in the war, do you want to eliminate the justice and progress of the War of Resistance Against Japan? Whether this intention exists is of course hard to guess. But there are more explicit clips in the film. In the original film of

, there is a Japanese Taiwanese civilian in the concession, played by Ruan Jingtian. He is a "China Master" and speaks Chinese. Later, he saw the massacre by the Japanese army and called to stop in Japanese. He was found by the Chinese in the concession and hanged. At first glance, this plot is a film and television description of the correct concept that "the Japanese people are also victims of the Sino-Japanese War" that our party has consistently proposed. But in this film, in the context of the 1937 Incident in 1937, this kind of plot is a disguised "washing ground" for the Japanese imperialist colonists.

The historical fact is that Japanese "dipatriates" in the Shanghai concession took up arms in the early period of the Songhu Battle and became accomplices and "pawns" of Japan's invasion of China and massacre of the Chinese people. When the Kuomintang army attacked the headquarters of the Japanese Special Marine Corps in the early days of the Battle of Songhu, this group of lurking and armed expatriates was the main force in helping the Japanese Special Marine Corps in Shanghai resist the Kuomintang army. The familiarity of the environment caused considerable casualties to the 88th Division.

The Japanese people are innocent, but the militarist accomplices are not

These Chinese "Ruan Jingtian" who have lived and lurked in Shanghai for a long time, are they here for the goodwill between China and Japan? I don’t know how to explain this behavior of beautifying the image of invaders with special individuals. Perhaps some film review websites that gave "Yubai" a high score of 8.3 can better explain the purpose of this plot: "Guanhu once again With Ruan Jingtian's tragic character, the little pink with U-shaped locks is useless to smear."

Fortunately, the reviewers finally deleted this controversial plot. Let the audience of "Yao Bai" watch the film a little better. It can be said that it was our reviewers who saved this movie under the banner of "saving the industry" through deletion and review.

After all, we can’t confirm the effect of the original film directed by Guan Hu. Many places in the film objectively and dialectically describe the shortcomings of the Kuomintang army. However, considering that "Yu Hundred" was announced without mentioning these "historically correct" sections, it is difficult to determine how many of them are censoring workers. It is the intention of the creator itself that is highlighted or added under the efforts of the creator. At the same time, we also have reason to doubt whether the creator has figured out whether the inferiority of the small person under the lens is the result of the Kuomintang's reactionary rule or the inherent "inferiority" of the Chinese.

And the story of a twisted "watcher" will undoubtedly be retaliated by the box office, which also makes Guanhu have to rely on a "Golden Horse Award" to protect himself.

" eight hundred" + Qin and Han = Golden Horse Award? Why is

the Golden Horse Award? The clues can be seen from the subject of "Eight Bai".

Guan Hu is not a foreign guest. There are precedents of political correctness and commercial success in filming the Kuomintang War narrative. Generally speaking, if you want to achieve greater commercial gains, it is obviously more advantageous to choose the "fun" theme of winning. Dan SongThe Shanghai Battle and the subsequent Nanjing Massacre were a history of failure and a permanent scar of the Chinese nation. It is a normal choice for Chinese directors to make this scar into a movie and become a warning word. However, for a commercial film that has an investment of close to 900 million and an expected box office of 1.5 billion to pay back, it is not so wise to choose the "Four Lines Warehouse" No one wants to put a heavy historical burden on commercial films.

At least when the "Yai Hundred" project was established, the Golden Horse Awards still had a trace of credibility of the "Director's Approval Certificate". It is a very modern anti-Japanese narrative from the perspective of the Kuomintang. Why

is very modern, because the Kuomintang has been promoting the "800 strong men" no earlier than 1975. After the total defeat of the War of Liberation and the Kuomintang reactionary clique retreated to Taiwan and became a rebel and defeated party, in order to maintain the so-called "ally" relationship with the Japanese right-wing, the Kuomintang did not talk about the War of Resistance and the Nanjing Massacre for a long time. This led to the fact that the Kuomintang did not have a "narrative of the War of Resistance" during the 26 years from 1949 to 1975—it did not praise the heroes of the War of Resistance, and rarely spread the story of the War of Resistance in the army. This avoidance of

, on the one hand, has deepened Taiwan’s historical nihilism and laid the roots for today’s “Taiwan independence”. On the other hand, it has also accelerated Taiwan’s “national army” into today’s Taiwan army, which in fact caused the 1980s. The downfall of the Kuomintang military dictatorship, but this is a story. In addition to the Kuomintang Independence Party’s tradition of fear of "surprise for allies", not talking about the war of resistance is also related to the political situation after its defeat in Taiwan. During the War of Liberation, a large number of anti-Japanese generals led the Communist Party or entered the merits, such as Wang Yaowu. , Liu Zhenxiang, a few famous anti-Japanese generals were also squeezed out and persecuted by Chiang Kai-shek, such as Sun Liren. Those who stay in Taiwan are not the "sixth main force" Liu Yuzhang, or the long-legged general Sun Yuanliang who runs fast.

Back in the 1970s, after the normalization of Sino-Japanese diplomatic relations in 1972, the Kuomintang, which was abandoned by the "world", became the "orphan of Asia." In the age when the legitimacy of the ruling power was faltering, in order to strengthen its own legitimacy narrative and propagate anti-Japanese hatred of the Communist Party, the Kuomintang did not start shooting a series of anti-Japanese films from the "landlord perspective" until after 1973.

The Kuomintang’s anti-Japanese propaganda began in 1974. A few years later, the "Jiangnan" incident occurred. The "landlord perspective" of

is a literal landlord perspective, because the protagonists of the story are all very deliberate landlords. The "Plum Blossom" and "Eight Hundred Heroes" well-known to the older generations were also shot by the Kuomintang for its own legitimacy in that era.

But as I said just now, the Kuomintang staying in Taiwan has nothing serious about resisting Japan. This is a very serious question: How can a "politically correct" person beautify its anti-Japanese achievements? During this period, the 800 heroes of Sun Yuanliang's "One Boom in a Billion of Light Years" became the "life-saving straw" of the KMT cultural propaganda department.

By the way, Sun Yuanliang has a son named Qin Han, who has a high status in the Taiwanese film industry. After all, who Sun Yuanliang is is not important for winning the Golden Horse Award. It doesn’t matter who Xie Jinyuan is. But who is Qin Han is very important for winning the Golden Horse Award. Although Taiwan's Kuomintang is in a precarious and precarious situation after Han Yu was deposed in 2020, the filmmakers with the right to speak in the blue camp still have a place at the Golden Horse Awards.

wild history section + director play = "Yai Bai"

returns to the movie itself. "Eight Hundred" is currently a highly controversial movie, and there has been obvious polarization in the evaluation. The reason for the polarization of "Yai Hundred" comments is different from that of "Wolf Warriors 2" and "The Wandering Earth": the latter’s opinion differentiation mainly stems from the audience’s ideology; the “Yai Hundred” opinion differentiation is reflected in the audience In terms of familiarity with history and military common sense-the more familiar with history and the more basic common sense of national defense knowledge, the lower the evaluation of "Yu Bai".

Have you ever seen a film critic who dares to say that "Yu Bai" restores history?

In short, Guan Hu, as the director of a war movie like Yao, did not reflect his own level in the shooting of war scenes. An excellent war movie. First of all, all his battle plots have clear battle logic andProgressive: How many troops does the protagonist have, how many troops the enemy has, what happens to the protagonist’s forces, how the protagonist uses existing conditions, and how the outcome of the battle is based on the conditions of both parties. This is the foundation of a good war movie and the basic needs of war movie viewers.

With the improvement of the contemporary film and television industry conditions and the endless emergence of excellent themes at home and abroad, the tastes of Chinese audiences have naturally risen. On the premise that the battle is logical, the Chinese audience's needs for the battle scene are far from being "queuing to shoot" and "gasoline bomb explosion" can satisfy. Obviously, a blockbuster film that utilizes all the strength of China's film industry in 2020 should show a level of service consistent with investment.

The level of service Huadao "Eight Bai" is there. Thanks to the leadership of the General Administration of Film, the process of my country's film industrialization has accelerated in recent years, and the excellent film industry technology has brought "Yao Hundred" a quasi-realistic quality in line with its investment. For a military enthusiast, "Eight Hundred" can be said to be "unprecedented" in restoring the state of the Japanese army in 1937. This film has a command of Japanese military regulations, type 96 warships, type 94 bean chariots, and uniforms of the Shanghai Special Marine Corps. It has been well restored and portrayed. It is a high-quality film rarely seen in the past few years, and a lot of effort has been made in the Japanese military service.

Here I would like to pay tribute to the two military advisers of the Chinese and Japanese sides of this movie. After all, in Japan, the "Songhu Battle" or the entire war of aggression against China was extremely politically incorrect. Not many Japanese scholars dared to be here. Such a Japanese left and right wing will come into contact with China on the topic pointed out by Qian Fu.

But Guanhu wasted the entire film industry’s thirty years of service and special effects scheduling technology. Guan Hu obtained the world’s first-class film and television resources from the film industry, but in the film, he showed the audience a battle without fighting logic.

What kind of battle did we see in "Yaobai"? We saw the Kuomintang troops lining up and jumping off the building, embracing explosives, and the devil wearing the "shield" at the bridge; we saw the typical "Orientalist mystery" Japanese army, carrying no firearms, dangling knives, shirtless, and all over Tattoos, sneaking into the bridge section with the national ordnance from the water; we saw the fragments of the national army rushing over the bridge head in a rain of bullets under the flares. There are other fragments of mustard gas bombs that use urine to prevent the virus. The loss of dozens of people is just to protect the flag. This is neither in accordance with history, nor in accordance with common sense, or even unreasonable. It is purely a piece of fantasy. .

sends the climax of the entire film to a battle of romances. This is undoubtedly a kind of black humor for a war movie with heavy realistic themes.

Considering the appearance of these fragments is extremely abrupt, its fighting logic and the first The excellent battle scenes during the two days were in sharp contrast. We have reason to suspect that some clips were directed by military consultants on the spot, while other clips were the result of the director’s "free play" after the director got rid of the military consultant.

We can say that "Eight Hundred" adopts a kind of evolutionary shooting technique, which is the same as the masterpiece "Take the Tiger Mountain" directed by Tsui Hark. It is the result of reprocessing on the basis of historical plot and using artistic techniques. . In other words, "Eight Hundred" should at least be stated at the beginning of the film that "this story is adapted from historical facts".

You can’t say that if it conforms to your values, a movie is an artistic process. If it doesn’t conform to your values, a movie is a "wolf war". The film expression technique is objective. Like "Wolf Warriors", "Eight Hundred" and "Wolf Warriors" both use a romanticized method to describe the battle. As for such a self-proclaimed serious documentary film, it is appropriate and inappropriate to use a romanticized method to express the battle. Those thousand people have a thousand Hamlet. , at least, believes that Chinese audiences should look at such a romanticized description of battle on this serious subject.

In the whole movie, there are about 7 minutes of fighting footage that is enough to "pay back", and the rest...

Of course, if we consider "the warrior is dead, the coward becomes a warrior, and all cowards survive" With this theme, the unreasonable part of the plot becomes reasonable instead. Since it is a film that requires "reflection", the excellent combat part of the film is not needed.

Here we also have to thank Huayi for its huge investment in blocking the life of the family. It was the first 40-minute battle scene of the technical nature of this film, especially the description of the battle of "the Japanese army lay down the warehouse in three hours" during the second day, which saved this unitThe film, let this film tentatively wear the cloak of a "sticky" film to attract the box office. After the eight hundred heroes retreated into the concession, the film came to an abrupt end. Behind it was the abrupt and prosperous scene of contemporary Pudong, which indeed made many viewers feel that the film was missing something.

So what is missing in "Yai Bai"? Lack of people. At first glance, "Eight Hundreds" can also start from criticizing the national character and finally show the people's awakening. However, in the distorted history, deliberate evasion of the historical process, and the battle of romance, "Eight Hundreds" can only become a movie. A film with a simple patriotic skin can hardly be further sublimated.

The War of Resistance Against Japanese Aggression was an unprecedented just war in which the Chinese people got rid of "spectators" and became the masters of history. From May to June 1938, Chairman Mao summarized the experience and lessons of the previous ten months of the War of Resistance against Japan, and successively published "Strategic Issues in the Guerrilla War against Japan" and "On Protracted War", systematically proposing the political line and the ultimate victory over Japanese imperialism. The military line is the People's War. After that, the people became the masters of their own destiny. This is the correct answer given by history. From the back row of "Eight Hundred", it is necessary to demonstrate this answer, so it is reasonable to stop suddenly.

Regarding the movie "Eight Hundred", although it has many shooting methods to make itself less "twisted", I don't think this typical commercial film that has been valued by the General Administration has much to criticize. After all, historical nihilism and History exists objectively. Fortunately, "Eight Hundred" was born in 2019 instead of 1998. With the great help of review agencies and authoritative historical consultants, this lively commercial film at least demonstrated the quality of war films that the film industry should have. Part of the plot has also achieved the effect of torturing human nature, and put on a simple patriotic coat with "persistence" as the main body, which also helped Guan Hu, the controversial director, to avoid the trouble of being questioned afterwards. How many plots in the

movie are "death-free gold medals" to avoid historical nihilism. I am afraid that only the director himself knows that

Comrade Mao Zedong optimistically saw the awakening of the progressive proletariat and becoming the master of his own destiny in 1938 when the Kuomintang completely retreated. The future of China; I also saw the bright future of China’s film industrialization in the movie "Eight Hundred".

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