One minute you climb up the outer wall of a tall building, and the next minute you roll down the escalator of a big shopping mall, either hanging on a speeding bus or hanging on a doomed viaduct. In this realistic day, what kind of fantasy experience are you going to design for the protagonist?
Generally speaking, Hong is a failed film. It is attractive with the shell of comedy, but there are few jokes. One of the few bridges that makes people twitch slightly is not because of humor, but because of humor. Bao Beier, who used to be a joke, has poor acting skills. He took part in a reality show clip when he was running a man, and he could beat the performance in "Hong Kong" by picking any point.
I don't know why Xu zhēng chose him. Is it because the film is full of scenes of running men, so I took a fancy to his physical strength developed in running men? Bao Beier in "Embarrassment of Going to Hong Kong" pretends to be crazy and sells stupidity, and his actions are exaggerated, just like characters cut out from cartoons. Once put in the realistic background, he looks extremely young. In Hong Kong, such a young hero is paired with another hero full of middle-aged melancholy, telling an old-fashioned theme of middle-aged crisis and even turning it into a farce.
Yes, "Hong" is actually a farce, and it is also a farce that is useless after it is over.
No matter the first few trailers or feature films, there is a strange feeling that I don't know how to say it. Let's put it this way, everyone can understand that this is a very simple setting: the variety of road films, the presentation of comedies, the passing of youth, the crisis of middle age, the re-search of inner direction, and the story starting from anxiety and ending successfully are all certain. But the way all this is told is so confusing that it is difficult to find the point. The unspeakable embarrassment is caused by this "out of focus". The material density of this film is too high, one after another, so that the audience does not know what to watch. Perhaps it was Xu zhēng's personal inflated ambition that intercepted so many materials, but due to lack of control, all these things hedged each other internally, eventually diluting their respective strengths.
Hong Kong is actually a middle-aged movie. Its spiritual core is the standard middle-aged emotion. Whether it is the constant plugging in of electricity at home, the trouble of infertility or the unforgettable first love, it is all proved. What's more, Xu zhēng resolutely inserted a large number of Hong Kong golden songs that make the current middle-aged people feel nostalgic. From a certain point of view, this makes people feel that it is a hole in the market segment, which has created a group of outdated Hong Kong stars and saved a nostalgic concert for middle-aged people in Chinese mainland. In their songs, this group of listeners recalled their youth and examined the present day. It's like dancing square dance to the music of past concerts. As soon as the music stopped, the dream woke up. It's time to live with the original.
If Zhao Wei's acting skills are hopeless and Bao Beier's training is a mistake, then the most fundamental problem of Red Kong Long lies in the script itself. Its lines have no bright spots. As a movie with comedy as its selling point, the lines themselves are very bad, because they are neither witty nor humorous, not to mention some puzzling sentences, which are lingering. From the beginning, Bao Beier was bored with holding a broken DV and talking about the names of various documentary masters. What's even more surprising is that the phrase "I can't influence the objectivity of the subject" runs through all the time. This is a commercial film, and this kind of lines can not effectively deepen the theme, but also hinder the acceptance of ordinary audiences. What is this for?
In addition to the lines, its plot setting is equally confusing. In fact, Dragonair is a story forced by one sentence and one idea. It has a realistic background, but it has been forcibly mixed with a lot of strange bridges that can't happen in reality. This makes "Hong" look neither fish nor fowl. First, climb along the outer wall of a high-rise building, and then roll down the escalator in a big shopping mall. Being chased by gangsters and bad policemen along the way. There have been more than three or five life-threatening accidents, either hanging on a speeding bus or hanging on a viaduct that is beyond redemption. In this realistic day, what kind of fantasy experience are you going to design for the protagonist? If it wasn't called Hong, I would have thought it was "The Fantasy Drifting of Teenagers"! If every clip has Xu zhēng's tribute and response to the Hong Kong film, this interactive way will seriously affect the quality of the film itself.
I don't know if the box office miracle of "Thailand" has brought too much pressure to Xu zhēng, or if he wants to copy it successfully and add some expressions of authorship to his business. There are many factors contributing to the box office success of "Thailand", and there is no denying the chance. Once the accidental factors are modeled and reconstructed, the results are basically embarrassing. Really excellent movies are all small incisions, which make one thing and one emotion clear, and then, naturally, they will spread wider extension. But there is a problem with unconfident movies. Everything is arranged in a large area, but you can't see anything.
What Xú Zhēng wants to present to people in Red is too complicated. Use the speech on the tour bus to incite lingering homesickness, and then use funny actions to help people stop tears; Satisfy the unrealized fantasy of middle-aged wretched men with the reunion with the first love hotel; Use a bunch of snobbish family members to distance themselves from middle-aged audiences; Design two policemen to remind people of TVB；; ; Jing Wong and gangsters are responsible for mobilizing the middle-aged blood that has cooled by half; There is also the room number of Wong Kar-wai 2046 and the lightly mocked Golden Award. In the end, even being designed as a wife and first love are dangerous. Who should be saved first? Xu zhēng has visualized the torture of this century.
You see, the chicken thief's mind is obvious in every paragraph. What if all this was made by a dozen Hong Kong golden songs? For the ordinary audience, only those songs can construct their own situation, and other bridges have long been normal. What's more, the running fight, which occupies the mainstream of narrative, belongs to Jackie Chan's funny action comedy sequence, an outdated category, completely out of touch with the real story of Hong.
Some of these settings are Xu zhēng's personal interests, and more of them are openly feeding the audience, but the problem is that once the purpose of feeding can be easily found, it means that it is ineffective to cover up these stories. Perhaps, Xu zhēng thought that Dragonair was a mash-up, but it was actually a mess.
Aside from form, story and acting, Hong's spiritual core still shows the straightforward characteristics of straight male cancer.
Many China stories have such a wrong assumption. They have substance and reality, but their hearts are always full of poetry and distance. The wife around me is willing to pay everything for herself, from money to emotion, but the first love in the distance has always been beautiful, and she is not married (symbolizing purity and certain waiting); Successful career (it must be related to the spiritual world, even if you make a windfall, you don't care, and all you get by chance is spirit), so it is difficult for the hero to choose between the two. This in itself is a world view that straight male cancer enters the middle and late stage of delusion. The whole world throws itself at you. You don't know how to choose between two sweet burdens. You have sublimated this reality of taking advantage and telling the truth into a philosophical dilemma. What is this? "Hong" created an RPG implantation situation for this group of middle-aged audience with straight male cancer to some extent.
Many people go to the movies with a refuge mentality. The audience who escape the pressure of reality either expect fresh meat beauty or watch hilarious comedy. So many movies are forced to shrink themselves and have to dress up as comedies. But everyone knows the difficulty of comedy. In this era when people can laugh at hidden weapons for a few days at will, it is embarrassing to tickle.