In the eyes of a thousand people, there are a thousand "evil will not suppress the good"

Many Chinese movies don’t look much like movies, but rather look like they were shot with a point-and-shoot camera and edited casually. They think that the storyline can cover up the shoddy work, and that the appearance of celebrities can confuse the audience's judgment.

The mediocre picture, rough editing, and poor acting... it cannot be considered a movie in the true sense.

When we watch Indian movies, we often wonder why Indian movies always shine in our eyes and feel more like movies.

The depth of thought, the rendering of music, the beauty of the picture, the portrayal of the characters...every point is pursued for perfection, and the audience is enjoying a visual, visual and spiritual feast.

I always believe that whether you are making a movie or watching a movie, you need an artist's vision and feelings. You can make a piece of art, not a video. You can taste it, not just for fun.

This feels very much like the Jiang Wen movie "The Evil Will Not Suppress the Right" that I watched recently. Many people advised me not to go see it because it didn’t look good and I couldn’t understand it. I checked the movie reviews online and found that the score is indeed not high. Currently, it only has a score of 7.2 on Douban.

But I don’t believe in evil. I don't believe that Jiang Wen, who can produce the critically acclaimed and blockbuster "Sunny Days", "The Japanese Are Coming" and "Bullets Are Flying", spent four years in hiding and still can't make a good movie.

In the eyes of a thousand people, there are a thousand Hamlets. In the eyes of a thousand people, there are a thousand "evils cannot suppress the good".

I still walked into the theater with doubts that it would not be understandable and not good to watch. Sure enough, Jiang Wen still gave me a surprise. The reason why I was pleasantly surprised is because "The Righteous One" is so cinematic.

Pattern and details, illusion and reality, light and shadow, sound and color, all make this movie just right.

This story of "revenge" unfolds under the overall pattern of resisting Japan and saving the nation.

When the protagonist Li Tianran was young, he saw with his own eyes that his master, who was so kind to him, died tragically at the hands of his evil senior brother and the Japanese because he did not agree to sell land to the Japanese for opium cultivation. He was also almost killed. mouth.

The resentment burned in his heart for 15 years and tempered him for 15 years. He returned to Peiping from the United States, thinking that he was ready for revenge at any time, but every time he acted recklessly and hastily. But it is precisely because of such frequent troubles that the plot has twists and turns.

Guan Qiaohong has accumulated ten years of hatred. In order to wait for the arrival of this enemy, she waited for ten years and hid in a tailor shop for ten years. But when the enemy actually appeared, he found that he couldn't do it. It wasn't until Li Tianran's appearance that he helped her break through the timidity hidden in her heart.

Because of the large layout, it raises the height of the movie, but it also hides intriguing little suspense. Small grievances under the big picture are shocking every step. The ups and downs of the details are exciting.

Movies can restore history, or they can be illusory and exaggerated away from reality.

The hypocrisy and viciousness of the traitor Zhu Guangqian, and the brutality and wantonness of the Japanese invaders, these real historical mirror images hit the pain points of the audience.

And Li Tianran comes and goes freely without a trace, flying over the walls and dodging flying bullets, which is exaggerated and magical. Good movies need this kind of stunning effect that transcends reality.

This is the charm of movies. Show reality, create illusion, hide truth and falsehood. Take us on a journey through the dream-like world of movies.

If you can follow the movie, go take a look at the intoxicatingly beautiful snow scenery of Peking during the Republic of China. What a wonderful visual enjoyment! Director Jiang Wen did it. It not only restores the old appearance of history, but also incorporates the stunningly beautiful scenery.

Whether it is Li Tianran returning to Peiping, accompanied by snowflakes all the way through the picturesque scenery; or burning the Japanese opium warehouse, watching the red clouds burning in the night from the bell tower; or being as light as a swallow, free Jumping on the antique roof beams...the beauty of the picture always appears naturally in the movie, making the audience feel like drinking mellow wine.

The tacit understanding of light and shadow, the fusion of sound and color. It is an indispensable and important part of a good movie.

Li Tianran’s American adoptive father, Dr. Hendler, has a Beijing accent that is full of charm and highlights the charm of the Chinese language. People feel that his fluent and mellow Beijing dialect can compare with many Chinese people.

The secret meeting between Jiang Wen and Zhu Guangqian, the meaningful dialogue, and the scheming expression pushed the mystery of the plot to a climax.

Evil never prevails. Perhaps more people see a revenge story, but what I see is a charming and suspenseful film art.

If you don’t reflect carefully, you will not feel the power of evil to suppress good, and you will not be able to figure out those complicated relationships. Who can tell whether it is evil or good, beautiful or ugly? Clear, the way is clear? The black, white and gray of your vision is not in the movie, but in your heart.