In the process of restoring old Shanghai, "Huanyu's" work "Heirloom" is undoubtedly one of the best.
In the study of Fuhuadao, we not only invested a lot of resources to verify and imitate, but also carried out in-depth integration and Xi in the description of history and characters.
Therefore, when we appreciate the work "Heirloom", a certain character or event in the play can often make us vaguely feel the traces of history.
Therefore, from a historical and realistic point of view, it is difficult for you to give a convincing "spit" to the story and character settings in "Heirloom".
Still, as a self-leading practitioner with a unique "style", I chose the title "Don't be 'deceived' by Heirloom magazine".
Judging from the work "Heirloom", in addition to most of the main characters in the play being "whitewashed", the old Shanghai shown through him also seems too "beautiful".
When Shanghai becomes an "island", this feeling of "beauty" becomes particularly prominent.
The most obvious "bug" problem is the "safe zone" created by Father Rao and jointly managed by Tang Fengwu and Yi Zhongyu.
Because Nanshi has such a place called the "safe zone", "Heirloom" was able to easily bypass the "French Concession", which is just across the street from it.
In the scene where Yi Zhongyu and Tang Fengwu jointly form the rescue **, there is a sentence that is accurate.
There is actually only one street between this so-called "safe zone" where they are located and the "French Concession", which is known as an "island".
The "safe zone" mentioned in the Heirloom is located in Nanshi, but it no longer exists, and from a historical point of view, it can be seen as an integral part of the old Shanghai "Huajie" county seat.
During that period, the county seat of "Huajie" was almost surrounded by the "French Concession", which is also the reason why a large number of refugees from Nanshi or "Huajie" entered the "French Concession".
It is only after entering the "French Concession" for the first time that it is possible for people to cross this "French Concession" and then enter a "public concession" composed of several countries.
Therefore, after the occupation of old Shanghai, there was indeed a clear difference in the composition of the refugees who poured into the "French Concession" and the "Public Concession" in large numbers.
This may explain why "Heirloom" mainly describes the scene of the "public concession" "confiding" to Tang Fengwu, but does not show the position of the "French concession".
The "safe zone" presented to us by "Heirloom" is not only a protected area that is no longer a "French Concession", but its initial environment and conditions are also significantly better than that of the "refugee camp" in the "French Concession".
The managers and supporters behind this "safe zone" created by Father Rao were not the authorities of the "French Concession", but the "International Relief Society" and the "International Red Cross" in old Shanghai at that time.
Including various churches and religious organizations.
This is one of the reasons why you can often see foreign women wearing special hats in the "safe zone" and helping to look after refugees.
Compared with the tranquility and peace of the "safe zone", Yi Zhongyu wants to return to the "Yijia Garden" located in the "French Concession" after a busy day in the "safe zone", but the actual situation is not as simple as described in "Heirloom".
According to historical records, in less than a month after the outbreak of the "August 13" war, nearly 700,000 refugees poured into the "French Concession" and the "Gonggong Concession" at that time.
During that period, the "French Concession" adopted a "policy of appeasement" and tried to blame the "Chinese Territory" for the problems of the refugees, which led to the daily loss of life by a large number of refugees from hunger or cold in the streets of the "French Concession".
In order to maintain social order within the "Concession", the "Concession" authorities not only strictly controlled the flow of people between the "Chinese Concession" and the "Concession", but also forced a large number of refugees who fled into the "Concession" to return to Nanshi, which is located within the "Chinese Boundary".
As a result, the "Concession" set a time period for curfews from 10 p.m. to 5 a.m. Therefore, Yi Zhongyu hopes to return safely from the "safety zone" in Nanshi to his residence in the "French Concession" every night, which is undoubtedly a very challenging task.
At that time, the "French Concession" management agency and the "Public Board of Directors" forcibly sent the refugees scattered in various streets and alleys to the "refugee camps" for centralized management for the purpose of maintaining social security and stability.
However, in these crowded "refugee camps", in addition to food and warmth, the biggest headaches are medical and health problems.
Although the "safe zone" in "Heirloom" also reflects this problem, in practice, the situation in the "refugee camps" of the "French Concession" may be even worse.
Because these so-called "refugee camps" are not supported by as many humanitarian organizations as the "safe zones", they are rapidly deteriorating in terms of hunger levels and living conditions, in the premise of preventing the spread of the epidemic.
According to the statistics of the charity organization in that year, about 300 children and 100 ** people lost their lives every day in the "concession" at that time due to a variety of factors.
In view of the large number of refugees who had died, there was an urgent need for the Agency to send more personnel to the cemetery in Xujiahui and to excavate more new graves to meet the burial needs of the influx of refugees.
It is true that the movie "Heirloom" has succeeded in restoring the appearance of Shanghai at that time to a certain extent, but it only shows us the Shanghai Tang, which is known as the "Ten Mile Ocean Field".
There is actually not much ** and description about those things that are called "dark side" and "ugly side".
Of course, this is also acceptable, because this is just a work with entertainment at its core, and too many demands and reproaches cannot be placed on it.
However, as a self-leading practitioner with a unique "style", I hope that those who like "Heirloom" will have the opportunity to read the articles I wrote about "Heirloom".
In film and television productions, there is a lot of content that can be diluted or processed due to a variety of factors, whether unintentional or deliberate.
For those stories and characters that really exist in the long history, "Heirloom" may also hope to provide clear explanations or elaboration for the audience through self-** practitioners like me with a unique "style".