No one expected that the movies on this year's Spring Festival schedule would show a grand occasion of "dominance in the world".
Among these productions, two films have been hugely successful, and some of them have even exceeded our expectations.
One of these works is titled "Article 20" by Zhang Yimou.
Placing the legal subject of justifiable defense on the Chinese New Year schedule can be quite unsettling.
Another work is "Flying Life 2" created by Han Han.
The previous film "Four Seas" starring Han Han was also released during the Spring Festival, but due to the box office downturn and poor word-of-mouth, its box office performance has dropped to the lowest.
Considering that "Flying Life 1" was already a popular IP five years ago, it is still an unsolved mystery how influential it is today.
However, after their official releases, both films quickly took a hit at word-of-mouth and box office.
The movie "Flying Life" performed well at the beginning, and the box office broke through the 400 million mark on the first day, and now it is steadily moving towards 3 billion.
The movie "Article 20" has shown strong sustained momentum, reaching the top of the box office since the 10th day of its release, and the current box office has exceeded the 1.8 billion mark.
Why were these two films able to break through the stereotypes of the past and get the opportunity to stand out from the crowd?
Aoshi believes that in addition to the various propaganda techniques other than drama, the expression of the film itself has gone beyond the simple production of popcorn.
Below, we'll compare these two non-traditional comedy films that focus on different themes despite their comedy themes.
Before we officially discuss these two films, it is necessary to discuss the directors of these two films.
Zhang Yimou, a 74-year-old film giant, opened a shocking chapter for the Chinese film industry through his work "Red Sorghum".
The 42-year-old Han Han is the best writer in the racing world and the best at making movies in the writers' circle.
Regardless of their cultural background or their creative philosophy, these two men are unrelated.
However, in this year's Spring Festival schedule, the two directors unexpectedly chose the same theme: small character comedy.
Interestingly, the protagonists of both films are middle-aged "frustrated men" who are plagued by various troubles.
However, the commonalities between the two films have come to an end.
If you think about it, these two directors have very different styles when it comes to comedic performance.
What Zhang Yimou is looking for is that vibrant secular comedy.
Just like on the day of the Chinese New Year's Eve, the Chinese New Year's Eve dinner prepared at home is always lively, although it is a home-cooked food.
Many of the humorous elements in the movie mainly stem from the funny couple Han Ming (played by Lei Jiayin) and Li Maojuan (played by Ma Li).
For example, Han Ming always decides seniority at home based on seniority, while he himself is willing to "bow down" for his children.
For example, when Li Maojuan was shopping in the mall, she unexpectedly saw her husband and ex-girlfriend sitting in a massage chair discussing work, and the jealousy between the two seemed to explode at any moment.
These plots are not only pre-designed by the script, but also inseparable from the impromptu creation and expression of the actors.
As Ma Li points out, Northeasterners are the best at using a variety of clever rhetorical devices (Ma Li and Lei Jiayin are both Northeasterners).
There is a verbal drama with the theme of "wife's body type" in the movie, which is an impromptu performance by Ma Li and Lei Jiayin.
Li Maojuan asked her husband: Have I ever had the experience of a black long straight S-curve in the past? My husband said yes. She was once young and beautiful?
Han Ming responded without hesitation: The current chubby state is also quite good.
He didn't seem to think that the matter was serious enough, so he added, "You always order takeout at night and", which touched the limit that his wife couldn't bear anymore.
In the daily trivial chatter, every comedic burden will be thrown out naturally, making the daily life of the world seem to become a stage for sketches.
The last time Qingshi read such an everyday and funny family joke was "Parental Love".
Zhang Yimou has successfully integrated various plots into daily life, realizing the artistic realm of "life first, comedy second".
Flying Life 2 is the opposite, it is mainly a literary comedy with a cold tone.
Han Han's uniqueness in comedy creation lies in his ability to find jokes from the differences between the past and present identities of the characters.
For example, Zhang Chi (played by Shen Teng), who was once known as the "King of Bayingbrook", became a forgotten driving school instructor in the movie "Flying Life 2".
As a coach, Zhang Chi's greatest honor is undoubtedly a cross-stitch plaque engraved with the words "Famous Teachers Produce High Apprentices".
He was presented with plaques by the same students who had studied with him for more than two years but had yet to obtain a driver's license.
As a veteran of the racing world, I had intended to pass on some experience to the new drivers.
However, from emergency braking to reflex training, the process is easily mastered by novices.
It feels like "the current era is different from the past", and although it makes people laugh, it also has a hint of bitterness.
In Han Han's comedy works, absurdity is another notable feature.
As far as the eye can see, "Flying Life 2" presents many absurd plots in the real world.
For example, the "limited edition cottage old man music" made by Xindi Machinery Factory.
For example, in the scooter race between the old and new generations of riders, the competition is so intense that the doors crackle.
Although the plot seems somewhat absurd and exaggerated, it does not feel empty and unreal.
This situation occurred mainly because Han Han made these absurd plots in harmony with the protagonist's predicament.
From our perspective, the absurd is a reflection of their real life experiences.
If it only achieves the effect of making people laugh, then these two films will not attract such huge attention and discussion.
Under the shell of comedy, these two films have managed to make a breakthrough in "deep outreach".
I still remember that at the end of "Flying Life 1", Zhang Chi drove a car to show his "leap of faith", which was both tragic and romantic.
After entering the second part, the idealism of the previous work gradually translates into the practical dilemmas faced by middle-aged men.
Zhang Chi, who miraculously survived, was unable to return to the competition venue due to serious physical injuries, so he had to choose to become a driving school instructor.
The once glorious phoenix is now inferior to the chicken of yesteryear, and its former glory is gradually forgotten, coupled with heavy debts due to healing.
Despite once reaching the highest record of the race, this record was not recognized by anyone due to the loss of the car's seal.
Lack of wealth, vehicles, and fame, all the factors in real life can destroy a person's long-held dreams.
Zhang Chi no longer has big expectations for racing, he now only hopes to earn some daily expenses through racing.
Even in a big game like Bayingbrook, in his opinion, as long as the losing game doesn't look ugly, that's enough."
However, when they walked into the arena and witnessed the fighting spirit of the younger generation, the heart oppressed by life became restless again.
All the previous dissatisfaction, unwillingness and weakness were finally released in the fierce racing competition.
After a hail attack that reveals the dark truth, the man who has been muttering "to survive" rediscovers his self in a dusty environment.
Middle-aged men don't just live a confused life, they also have the right to be passionate.
Even if you fail, make it look more appealing.
Flying Life 2 shows its deep meaning and value in the strategy of "anti-chicken soup" and "anti-routine", and its performance in this regard is quite outstanding.
In Article 20, the topic of the awakening of the little people is also touched.
During Han Ming's temporary post in the procuratorate, out of consideration for his family and future, he was very cautious in his words and actions, for fear of causing any unnecessary trouble.
Faced with a bus driver who was convicted of intentional injury for his courageous actions, Han Ming advised him not to continue petitioning and to concentrate on living his current life.
Faced with the son who was dubbed "unwarranted", he advised him to put the big picture first, believing that it would not be easy to get into a good school.
It is precisely because of such an insignificant little role that his transformation and awakening give him an emotional appeal.
In ancient times, people often said that "people are soft-spoken", but some people also said that "everyone gathers firewood and the flame is high".
As an ordinary prosecutor, Han Ming's ability is limited after all;
However, his final speech touched the hearts of ordinary people and elevated his personal insignificant words to a higher level related to the well-being of the country and its people.
This attitude of pursuing fairness and justice is precisely the core content of Article 20 that touches people's hearts the most.
Many experts in the field of law have expressed great interest in the film, such as Luo Xiang, a well-known figure, who also explained the far-reaching significance of justifiable self-defense.
I believe that with the further promotion and development of this film, it will definitely have a positive effect on the relevant legal system.
The greatest highlight of Article 20 is that it stimulates public thinking and moves society as a whole forward.
I've read this quote before:
If a movie has a compelling story behind it, but doesn't have great actors to interpret it, it really feels like a wasted effort.
Although the rhetoric is rough, "Article 20" and "Flying Life 2" are vivid examples.
Let's focus first on Article 20, whose cast is absolutely star-studded.
Xu Yajun, Yu Hewei, Ding Yongdai and other powerful players even participated in the production of soy sauce.
The list of high-profile actors is not just superficial, Lao Mouzi's sharp eye in the selection of actors has been fully displayed.
Take Lei Jiayin as an example, with his vivid and subtle expressions and steady personality, he successfully created the character's characteristics of "both timid and rigid".
I don't think that there is no law of the country, nor do I think that there is no human reason! ”
In the end, this statement became a masterpiece, and every word touched people's hearts like a thunderbolt.
Whether it is the teaching director played by Zhang Yi, or the bully father portrayed by Fan Wei, or the deputy inspection of Tian played by Wang Xiao, every actor has performed impeccable in terms of role fit.
Even Zhao Liying, who had not received widespread attention before, also dedicated her best acting skills to her career and interpreted the role of a dumb girl to the fullest.
In "Flying Life 2", the "Iron Triangle" of the previous part starred Shen Teng, Yin Zheng and Zhang Benyu, and their cooperation made the whole work full of deep emotions.
In this new role, Jia Bing plays Director Xin as "Zhang Chizhong fan", and Sun Yizhou is "high apprentice" Liu Xiande, and the performance of these two characters in comedy is unquestionable.
Shen Teng is undoubtedly the most eye-catching.
After last year's "Man Jianghong", Shen Teng once again showed his superb acting skills in non-comedy.
In the early stages of the story, Shen Teng shows the emotions of loss and decadence, and in the later stages, he successfully captures the depths of the character's heart through the emotion of "joy and sorrow".
Especially after starting the car, the phrase "this car recognizes me" is really uncomfortable.
As some netizens mentioned, when you read to the end, you may forget that person is none other than Shen Teng, who successfully hid himself behind Zhang Chi's back.
Ultimately, Bluestone wanted to share an interesting point.
Zhang Yimou, a director who is getting older and more demonic, is always looking for change.
Although Han Han is more than 30 years younger than him, he has always pursued "unchanged" and persevered in his artistic style.
An exploration of diversity in artistic creation, and a self that always sticks to its original intention.
These two represent two different points of view in the Chinese film industry, and both are commendable.
It can be observed from the films scheduled for the Spring Festival this year that the market's emphasis on the box office has gradually shifted to the concept of "content first".
We hope that the majority of film creators can continue to create high-quality content, so that more films with personal expression and social value will become the leading force in the film market!