Crazy stone review

Crazy Stone is definitely the craziest and most interesting movie in China this year. The whole movie is impressive: clever story, wonderful soundtrack and good editing.

In fact, a Chinese film, the combination of lens structure, itself is a valuable spirit. China's films always emphasize the "presentation" of the lens, but they are weaker than the "performance" of the lens. This is also a huge difference between mainland movies and Europe, America and even Taiwan Province Province. Mainland directors, such as Zhang Yimou, a photographer, have a unique way of showing the camera. They are used to telling stories with the eyes of photographers. This kind of film is very beautiful and has a strong visual impact. Directors from Taiwan Province Province, such as Hou Xiaoxian and Yang Dechang, prefer to show the progress of the story by changing the lens, so that the audience can consciously feel a lot of things outside the lens, which is the tension of the film. In movies such as Goodbye to the South and Brighter Summer, you will feel the classic taste in the atmosphere where the director deliberately leads you in. What I want to say is that from the 90 minutes of Crazy Stone, I was amazed by the unpretentious humor, the changeable lens expression and the circuitous editing with a little crazy flavor. It is hard to believe that such fresh and pure waves can emerge in the sea full of China epic movies. I don't know director Ning Hao, and it's my first time to contact his films. However, from the lens of Crazy Stone, I see that the window for a generation of young directors to find a breakthrough in film language is opening. When the director of Jurassic appeared on CCTV, he intentionally or unintentionally expressed the meaning that director China didn't know how to tell stories. I think after Crazy Stone, we can stop saying this. In addition to the wonderful script itself, Ning Hao emphasized several strong sounds in his understanding of the story, and handled this limited strong sound very unconventional, which naturally blended with the relaxed style of the script as a whole, without any feeling of being pretentious and showing off. In fact, the technique he used was actually very ostentatious. Let's talk about places worth showing off first, such as the scene where Guan Gong Temple was chased after the fire. In the scene full of China flavor, the pure quintessence of Chinese music and the compact sound of traditional Chinese opera gongs, and the rapid switching of shots accurately and strongly compressed the air in the theater. This kind of genius is impressive.

Another place worth showing off is that the function of the three-way intersection at the entrance of the temple has been used to the extreme. In the scene of a motorcycle grabbing a bag and crashing into the door, under the dim blue light, a triangle composition is used to show the independence and cross plot between the three characters. The atmosphere is just right and the sense of rhythm is quite strong. The constantly deleted lens group is the focus of this plot, which makes a good presentation for the next climax of the story. The scene finally confessed. This shooting technique convincingly conveys the unique performance charm of the film, which is the biggest difference between the novel and the film in storytelling. From this film, we can see that the director intends to make an attempt in structural expression, but as far as this script is concerned, it is not suitable for such an attempt. This kind of successful foreign films usually have several disjoint main lines to set off the theme of the film, and Crazy Stone adopts the method of partial structure, which is undoubtedly a successful and rational approach. As far as the whole film is concerned, it is a carefully produced film, and every detail is handled with great care. The humorous elements in the film are not artificial, and the jokes are completely driven by the plot. Unlike some bad comedies, we joke with exaggerated limbs and language burdens such as cross talk. This is the burden that a successful film must bear, and the rigorous attitude is the weight that a film should bear. The ending part is still a little insufficient. Two villains died in just two minutes. This sudden, relaxed and weird style that lasted for 80 minutes came to an abrupt end, or the plot should be handled more intangible, such as no blood in the lens. Fortunately, the director seems to have noticed this, and finally made the audience laugh. Generally speaking, it's always comforting to see flowers that can be called wonderful flowers in China's film environment, which is denounced by everyone. Director Ning Hao definitely prefers Latin-style films, and is greatly influenced by Spanish and Italian classic art films. Especially in 1980s and 1990s, many Latin techniques were well represented and applied in Crazy Stone. If we take this film as a starting point, it is undoubtedly the great luck of China filmmakers and China audiences that China films can get out of more and wider factions among this new generation of directors.