Which film do you think is the most successful adaptation of Wang Shuo's works? There are about three films, and it is better to attach some film reviews. Wang Shuo's contribution to movies and so on.

Which film do you think is the most successful adaptation of Wang Shuo's works? There are about three films, and it is better to attach some film reviews. Wang Shuo's contribution to movies and so on. I want to write a paper. Jiang Wen's Sunny Days is based on Wang Shuo's Beast. .

The following is Jiang Wen's self-report: ▲ You can smell fierce animals when you see them. When I first became a director, even the title of director seemed to me like someone else's nickname-a bit indecent. In more than a year, how many times have we run out of ammunition and food and how many times have we come back to life? Some people leave us in pessimism and disappointment, some people insist crazily, and some people are called mad dogs by lunatics. These crazy people didn't realize that they were doing something meaningful until they looked at the samples. Movies are dreams, and these people forget that they are immersed in dreams. I have the same experience as Wang Shuo, both children in the military compound, and have a lot of contact with local children. After reading this novel, there is a strong surge in my heart. Wang Shuo's novel pierced my skin like a needle, and the blood came out at once. I cannot judge his literary value. I always turn words into pictures. I always translate novels into movies intentionally or unintentionally. As soon as I saw this novel, I smelled it, and there was music-the smell of tibetan songs and the canteen. I didn't know I could write a script before, but now I think about it, it feels like something is urging my handwriting to be so "rushing" that my pen can't keep up with my brain. I don't feel tired or bitter, but I am willing to do it. ▲ A 60,000-word novel about the process of a boy becoming a man was changed into a 90,000-word script. Some people misunderstand that this is a "Cultural Revolution" movie. I don't want to make a "Cultural Revolution" movie. It's just that if Wang Shuo and I write about the process of a boy becoming a man, then we can only write about that time, that is, when we began to change. At that time, I was very confident after writing it. I thought it was good, too good to tell others. But when I went to look for money, many people were suspicious. Because I was immersed in excitement, I thought everyone was as excited as me, but in fact everyone was very calm. I can't find the investment, and I don't know how to tell people about this thing. I cann't tell you how good it is I think it is a blank sheet of paper. What reason can I tell you that it is a blank sheet of paper? But in others' eyes, I don't see what it is. I just fainted in wishful thinking. ▲ For convenience, it is said that the worst thing to find someone who looks like Jiang Wen is to choose an actor. When you see an actor who is brought in and has nothing to do with the role to be played, you will hate this actor. In fact, there is nothing wrong with people. This is very strange. But sometimes, strangely, you will fall in love with the actor brought here, because he has such an inner connection with the person you imagined. The first actor I met was not Yu Xia, but Han Dong, who was too rosy when I was a child, about ten years old. When I met him, I suddenly had an infinite imagination. Like oxygen inhalation, I feel that the blood of the whole film crew begins to flow. I don't have to be narcissistic. I have to find someone like me to play this film, because three people play a role, and everyone says it's convenient to find someone like Jiang Wen. I was cheated when there were seven or eight candidates, and I don't know who is like me. So in the end, I let my mother decide this matter. My mother said that Yu Xia was just like when I was in middle school. I became a director because I was dissatisfied with the current situation of the film. The first day of shooting was a night. Production director Yong Er asked me if I was nervous. I said I'm not nervous. I forgot to be nervous. Why? I'm so tired. In fact, I became a director because I was dissatisfied, not with the working status of my actors, but with the film. I've always wanted to make another movie, or make another movie in another way. I think the director is an action, an action, and he should not be a position. Whenever you feel the need to act, act once. When I am confident, I feel that no one in the world can compare with me. There is no great director in my eyes. When I am not confident, that is, when I can't find my feelings, I feel that everyone is better than me. Sunshine is like this. I believe others can shoot it, but it's not like this. ▲ The meaning of seeking is more than the success of the film itself. I shot 250,000 feet of film and didn't know it. Some people say that I am the director with the highest film consumption rate in China. I really don't want to break this record. I did this because I think that's how movies should be made. Who says one shot is enough? In my opinion, this is a process, a search process. Like falling in love. You suddenly fall in love with someone. You always ask yourself why you love. Of course, the answer is mostly that I don't know why, but love is love, and you can't say it clearly. I think it is very important for a director to have something to attract him and torture him. In the process of shooting, I tried every means to find something that attracted me and tortured me until I found it. I think the significance of this search goes beyond the success of the film itself.

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Wang Shuo: "Sunshine" can only come from Jiang Wen's mind. When talking about the novel Beast, Jiang Wendong asked about the background and prototype of the novel and why some events should be handled in this way. I refuse to be a screenwriter. I have just finished writing a lot of novels and TV plays, and my writing ability is paralyzed. I especially hate writing for aspiring directors. The painful experience is unbearable. I can't help Jiang Wen turn the novel into a movie idea. Those things can only come from his mind. Because of vanity, I promised to play a role in the play. I have a line in the scene of "Old Mo", which was almost thrown by the officers and men of the armed police all night. Finally, everyone was exhausted. Once I fell, and no one reached out to pick it up. I fell on a man's foot and survived. Yu Xia: It's like the prairie in the sun. At noon on August 23rd, 0993, it happened to be Wang Shuo's birthday. When the cake was eaten by us, it felt like bleeding for alliance. With the spread of "The Story of War", everyone's cooperation has become more tacit, and our crew has also become the home of sunshine. In addition to saying that comrades live in harmony, warm each other and help each other, there is another meaning: our crew is like a prairie in the sun, where the breath of youth ripples, and sunny smiles often hang on people's faces. This is a dynamic group. 1994 65438+1On October 22nd, we finished the last scene. We set up a huge colorful painting of "national unity" and took a group photo with Director Jiang before the painting. Xiaogang Feng: I can't remember when and where I worked beside Mr. Jiang. Jiang Wen told me that you should play Mr. Hu. But I clearly remember Liu Xiaoqing saying the same thing to me. In my impression, she kept looking at me and smiling, which made me look a little embarrassed. She said: You are the best candidate. She and Jiang Wen never seemed to think that I would refuse, but always stressed that their determination had been made. This still bothers me, and I even said to myself: I will strive for the best supporting actor. Teacher Jiang said: There are two people who can play this role. One is you and the other is Ge You. But he was worried that the audience liked Ge You too much, which made Mr. Hu cute. He thinks I can properly show Mr. Hu's energy (I don't know whether he praises me or scolds me). The background story of the film from 6: 20 to 6: 33 takes place in summer, but when Yu Xia speaks, there is white fog in the camera, while others in the back camera don't. Because the film is basically shot in autumn and winter in Beijing, the actors try their best to show the effect of summer. The audience didn't look carefully.

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Beijing has changed so fast: in 20 years, it has become a modern city, and I can hardly find anything in my memory. In fact, this change has destroyed my memory and made me confused between illusion and reality. My story always happens in summer. The hot climate makes people more exposed, and it is more difficult to hide their desires. At that time, it seemed that it was always summer, and the sun always came out with me. The weather is sunny and too bright, which makes my eyes black ... joke, what am I waiting for? Will you let someone hit me? You punctured my tire. Can't you hurt me? My greatest ideal is the Sino-Soviet war, because I firmly believe that in the new world war, our army's iron fist will definitely smash the war machines of the Soviet Union and the United States, and a world-famous war hero will be born, that is me. How strong is the desire to tell the truth, how much interference there is, and sad discovery cannot restore the truth. Now my mind is as clear as the moon.

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The position of film history truly depicts the living conditions and adolescent confusion of teenagers during the Cultural Revolution. The appearance of a brand-new China film from content to form marks a new era for China films. For many people, the "Cultural Revolution" was a dark day. At that time, right and wrong were confused, and black and white were reversed ... However, Jiang Wen's Sunny Days was unique in the description and narrative angle of the times. It does not show the usual pain, but describes the living conditions of a group of teenagers burned by dangerous passion with the military compound as the background, which is relatively calm compared with political madness. In this way, they spent their youth in dazzling sunshine and red flags everywhere, with impulse, love, sex, innocence, failure, adventure and growth. The value of a sunny day lies not in its age, but in its truth and touching. In the play, the growth process of the hero Ma Xiaojun is very similar to that of many people at that time. Although there is no pain of "Where are you going?", it is only a youthful dream of personal growth, but it is truly shocking. The description of human nature in this film is true. In that era when "injustice" and "roots" were overwhelming, teenagers who didn't know the taste of sadness were occupied by unformed feelings and desires. The cunning demons gradually found their way, and the grandeur and strength of the male world blossomed in a tense muscle state ... They are all "milestones" in memory to commemorate yesterday's regret. Sunny Days by China director Jiang Wen can be said to be one of the most amazing movies in the world in 1994, and it is still eager to watch. It is a brand-new China film from content to form, and its appearance marks that China films have entered a new era. -"Sunny Days" by Time magazine is undoubtedly a surprise for China film industry in 1990s. It brings the audience not only idle chat and ridicule, but also memories and ridicule of that special era. When the audience is deeply moved by the film, they will find that the film shows a rich and meaningful "social one" and "cultural-psychological" landscape. -Lu Jing, a famous film critic

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Although Utopia of Youth is a work about the Cultural Revolution, everyone can see that it is a work about youth and growth. During the Cultural Revolution, a group of hairy children aged 10 ran amok in Beijing. Jiang Wen started from his own experience. When this group of childhood friends meet again, the past is no longer important to them. He broke away from the platitudes of the Cultural Revolution, such as scars and sufferings. Under his lens, the Cultural Revolution is as romantic as youth. When the fifth generation directors jumped the queue to work in the countryside, the younger brothers and sisters who stayed in Beijing lived a lawless and semi-truant life. Parents, teachers, brothers and sisters, no one cares about them. Their growth has too much laissez-faire, unbridled and anarchist arrogance. "Sunny Days" completely captures this tone, and the whole movie is carried out with a fast and powerful rhythm, which makes people stare at it almost in one go. Jiang Wen's review of youth is by no means as painful and introspective as that of the fifth generation directors. His sigh is a trance and nostalgia for youth, a disappointment for the sudden disappearance of youth, and then more of an eulogy for youth and that era, which is completely different from the scars of the fifth generation of Chinese nation. He hardly touched the Cultural Revolution in the film, but such youth and passion were the background color of the early Cultural Revolution. So we heard Jiang Wen's unique narration at the beginning of the film: "Beijing has become so fast: it has become a modern city in 20 years, and I can hardly find anything in it." . In fact, this change has destroyed my memory and made me confused between illusion and reality. My story always happens in summer. The hot climate makes people more exposed, and it is more difficult to hide their desires. At that time, it seemed that it was always summer, and the sun was always free to accompany me. It's sunny and too bright, which makes my eyes black ... Sunny Day is adapted from Beast by Wang Shuo, with less literary style of the original and more experience and visual expression that Jiang Wen can't express in words. Ma Xiaojun, the leading actor, looked for the hazy and illusory beauty photo with a telescope. Before the collective fight, two groups of people were frightened and nervous, and gathered on the roof to sing a long romance of Soviet folk songs. With the clear depth of field of Gu Changwei and the disturbance of portable cameras, thousands of fascinating images have been arranged. The turmoil of young people, the mystery of fantasy, the sexual curiosity of adolescence, and the unrestrained cruelty and violence are all printed in the audience's mind more directly and sharply than words. Talking about his films, Jiang Wen said: "I can't swear that people will tell stories honestly, but how strong the desire to tell the truth is, the interference will be great. Sadly, I found that I couldn't restore the truth at all. My memory is always changed by my emotions, and then playing tricks on me, betraying me and confusing my mind. "Finally, he even denied the authenticity of the previous paragraph of the film, calling it a forged lie. This narrative strategy of Wang Shuo/Jiang Wen makes youth and memory more arrogant. In the subjective and conscious shaping, memory is selected/modified as a youthful utopia-sunshine, brilliance, noise, joy, irresponsibility, freedom, sweetness or guilt of first love, boasting of energy, fear of loneliness and exclusion. Sunny Days does not deny its narrative position. The place in the hall ignores the bitterness of youth. (Peggy Chiao) The Complete End of Sex in Sunny Days There is no doubt that the pursuit of sex, which originally belonged to individual behavior, has become a collective behavior. There are only two collective targets in this chase: one is Yu Beibei and the other is Milan. When Beibei kissed Ma Xiaojun in the laughter of other partners, Ma Xiaojun strongly refused. Finally, Ma Xiaojun blushed, Beibei became angry, and the sunny day mocked and disintegrated sex for the first time. For Ma Xiaojun, a sexy and mysterious child, sex has become a forced group game. Therefore, in Ma Xiaojun's eyes, Yu Beibei has become a monotonous object with no mystery, so there is no beauty. In her place, Ma Xiaojun couldn't find anything "beautiful" that he longed for. The appearance of Milan's "reunion after a long separation" gave Ma Xiaojun a great sense of mystery, so in his eyes, Milan became a beautiful and noble secret crush he thought he had found. However, the initial mystery did not give Ma Xiaojun a long and beautiful experience to wait for. At first, I didn't dare to look at Milan's inadvertently exposed body while sleeping; Looking at Milan in an exposed bathing suit, she said that she was "fat" like a woman who had just given birth, and then kicked her plump ass: then he wanted to rape Milan most ... Ma Xiaojun gradually fell into the mystery and loss of sex. The beautiful coat of sex is peeled off layer by layer, and sex is just desire. Especially when "Brother Biao", the underworld boss, appeared as Milan's former lover, although Ma Xiaojun still took up the knife to defend her without hesitation, the beauty and mystery of Milan have begun to break, because Milan is not pure at all; When Liu Yiku openly pretends to be Milan's boyfriend, Ma Xiaojun finally understands that Milan has never been with him, and she is just his secret crush, even his psychosexuality. Therefore, rape, the most clumsy and incompetent means to satisfy sexual desire, was used by him to obtain the beauty that actually destroyed his last point of psychology: when the situation turned into Milan shouting "Do you think it is so strong", Ma Xiaojun hysterically shouted "strong". Sex, beautiful sex, and even dirty sex are all gone from him. Sex is nothing more than a condom that is full of air and flies around like an empty shell. It is so direct and indifferent that it can swing from side to side in the air, showing great freedom; It is overwhelming and can expand from a small rubber sleeve to a shell that can be completely annihilated; However, it is so meaningless, because it is just a small eye, which leads to the birth of a precious and sacred life. When Ma Xiaojun stood on the high platform wearing a bright red swimming trunks that Milan gave him for his birthday, he didn't want to prove to Milan again that he was finally going to be beautiful, but he wanted to completely destroy his beautiful fantasy. He fell into the water from the high platform in despair and floated in the pool. At that moment, Ma Xiaojun no longer had any good ideas. -He swam to Milan, Liu Yiku and Yu Beibei, which he had rejected. He longed to be integrated with them again, but the result was destruction: he stepped down again and again and declared himself completely lonely. He didn't even have the ability to gain the approval of the common people and became a lonely man. In this way, the disintegration of sex is completed. Ma Xiaojun went from refusing vulgar sex to pursuing beautiful sex, to disillusionment with beautiful sex, to refusing vulgarity, and finally to complete despair-this is the whole process of the destruction in Sunny Days. Evaluation When the fourth generation directors reflected on the Cultural Revolution, Jiang Wen praised youth and enthusiasm. Can it be said that the passionate thoughts and hormones of those cheering young people are also divided into right and wrong, truth and fallacy? (Sabek)

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This film won the volpi Cup Best Actor Award (Silver Lion Award) at the 5 1 Venice International Film Festival. The 33rd Taiwan Film Golden Horse Award includes six awards: Best Drama, Best Director, Best Actor, Best Photography, Best Adapted Script and Best Sound Effect. Best actor award at Singapore International Film Festival. The top ten movies of Time magazine (1995) were selected as "the top ten movies in the world". This is the first film directed by Jiang Wen, a famous actor, which gives a very true description of the living conditions and adolescent confusion of teenagers during the Cultural Revolution. The film has beautiful pictures and simple performances, and has gained a high attendance rate after its release.