[High Score Movie] Where the Devil's Devils Come into the World--Scoring 8.6

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Introduction:

The heaven and earth aura breeds a huge energy mixed pearl, Yuan Shi Tian Zun will refine the mixed pearl into a pearl and a magic pill, Lingzhu will be a human being, and it will be useful when helping Zhou Wan; and the magic pill will give birth to the demon. It is a disaster. Yuan Shi Tian Zun started the day robbery spell, and after three years, the thunder will come and destroy the magic pill. Taiyi was ordered to take Lingzhu to the son of Li Jing’s son in Chentangguan. However, the difference between the Yin and the Magic Pills was actually lost. It should have been the hero of the Lingzhu, but it has become a big devil. The mischievous and miserable ones have a heroic heart. However, in the face of the misunderstanding of the magic pill and the coming of the coming thunder, where is it destined to become a demon? Where is he going?


First of all, the production water of "Where the Devil's Angels Come into the World" is accurate and good. Of course, it has been proved by the audience's word of mouth in commercial terms. These aspects will not be repeated.

Just talk about your own views on the film from the perspective of creation, including plays, adaptations and characters.

Many people think that the drama of "The Devil's Coming to the World" is very good. This "good" impression comes from the rhythm or emotion of the play itself. But in my opinion, the scriptwriting of this play is actually a rather old-fashioned commercial practice. What is old school? For example, the Hong Kong Film Company, which is the most powerful commercial film in Hong Kong in the 1980s, is based on the so-called "Nine Plays" principle. In the past, film film was a ten-minute volume. It was called "one book" and "nine books" was a 90-minute film. The "nine" drama is that within each play (10 minutes), it is necessary to calculate whether there are some comedies, wonders, lyrics or stimulating things in the 10 minutes, if the commercial elements of each play are enough The script of this play is a success and worth shooting. In other words, the so-called "nine books" creation is the method of stacking commercial bridge sections to ensure the density of commercial elements in the drama. However, this kind of law, which was once regarded as a golden rule and focused on commercial elements, was gradually eliminated.


The drama of "The Devil's Coming to the World" is for me, the elements are too dense. Especially the comedy bridges that many people call "Zhou Xing Chi", the density is too much. This type of creative method is certainly very effective in ensuring visibility. It is just like the "nine books" play was later abandoned. It is also because such dramas are too focused on the accumulation of business elements, but often overlook the characters and easily make business elements. And the drama itself is separated. Just like in "The Devil's Coming to the World", there are already many characters responsible for comedy (including the enchanted beast of the goalkeeper, or the dragon that gave the gate to Yuan Shitian?), these characters are actually good as supporting roles and effects. It is also a common method of adjusting the rhythm in commercial dramas. However, Taiyi Real Person is one of the main players, but he is still responsible for creating the "comedy" position. He does not use his brush to describe his relationship with "Teacher" or his relationship with "Shen Gongbao". It seems very functional.


Especially if you look at the whole film, you will even have a bit of a slap in the face of "Shen Gong Leopard". People like "Taiyi Real People" who sell all the way to sell but stupid but don't see any real material are instead stressed by Yuan Shitian. In this way, "Shen Gongbao" is actually fighting against the fate! It is only the director who of course does not intend to enrich the character "Shen Gongbao". His image design has determined that he is only a stereotyped villain, and in this creative thinking, this character is still a "comedy" element, so the role of "Shen Gongbao" is also There will be more settings for "stuttering".


Excessive attention to business elements and neglect of the shaping of "persons", of course, including the rudeness of character motivation and character integrity. Including the many audiences who will spit out the final scene, Li Jing inexplicably went to reveal the veil of C, and the position of Zhai C left and right, and then said that he would help to decide where to destroy Chen Tangguan, the motives are abnormal and so on, etc. In this scene, the behavioral logic of these characters has been transferred to the creation of commercial fights and spectacle scenes.


Of course, in this kind of drama model of commercial elements, it is inevitable that there will be some routine design: it seems that Taiyi real person wakes up in the painting, and does not find that he has become a lady, or who is a villager. Children, designed to let them fall into their own traps. These dramas are designed to create accidents and joys through "reversal." I don't know what others think, but for me all are predictable. Old-fashioned, it doesn't feel interesting. Of course, there is nothing to say about the business, but it’s a good idea to see what’s good or bad.


Let me talk about "adaptation." I thought that the excellent adaptation must be bold and rebellious. It can not only convey a strong spiritual core, but also express rich humanity. Just like "Westward Journey" adapted "Journey to the West" at that time, it seems quite deviant. It will describe the animal's lust in the animalistic Sun Wukong. The spiritual core is actually about "people" and "emotion". This is also its The reason for being a classic; or the 1979 version of "Where is the sea", its adaptation makes the image of the patriarchal rebellion more vivid, the whole spiritual core is actually very bold and anti-establishment, full of political, but in fact Responding to the 1979 Chinese climate of short-term political thawing, it almost predicted what happened ten years later. The adaptation of "The Devil's Coming to the World" is certainly not the "Where is the sea", and it is naturally adapted from the original story of the gods. On the surface, the adaptation of "The Devil's Going to the World" is also very bold. It breaks through the old relationship of characters and integrates the theme of destiny, father and son, etc. In my personal aesthetic taste, I certainly feel that I resist patriarchy. The theme is much more powerful than the lyrical and enthusiasm of the business logic, but these personal aesthetic judgments are not mentioned for the time being. What I want to ask is that the adaptation of "The Devil's Coming to the World" is really rebellious. Really bold?


First of all, on the characters, some people say that the "Devils in the World" is also quite rebellious, and it is no weaker than the image in "Which is the sea". I want to ask, what is his resistance? In the play, his fate is due to Shen Gongbao's stalking from it, but Shen Gongbao as the only villain is not his object of rebellion. His object of resistance is destiny. But the destiny is illusory in this play. There is neither a character nor a trace, like a natural disaster like fatalism. In fact, this kind of anti-destination theme has already seen much in martial arts novels, and it is not new at all, but in those martial arts novels, the so-called "magic" protagonists are also very concrete objects: It is a secular prejudice or the hypocrisy and threat of a decent person. And the fate of rebellion is completely illusory to me, completely unrecognizable. I don’t know whether it is due to the limitation of censorship or the preference of the creator. In Chinese movies, people who do not know rebellion often happen. I don't know why the situation of resistance, in the end, is a phrase "God" that explains everything, and then uses this sensation to create a so-called "burning." For me, that kind of emotion is particularly empty. I don’t understand where his rebelliousness is. I don’t know what it’s called “burning”. Is this “burning” just a lack of object, big? Shouting the self-impression of "I am by my life"?


Secondly, in the adaptation of the relationship between the characters, I also feel that the adaptation of "The Devil's Coming to the World" seems to be rebellious, but in fact it is very safe and safe. Including the shaping and sensation of the relationship between the father and the son, it is very mainstream and warm, in line with the operation of the commercial film; the relationship between the cockroaches and the cockroaches, from the enemy to the friendship, is also true. The two groups have a group of cp in the relationship of the characters, or the image of the cockroach C refers to the characteristics of the Xian Xia. It is the consideration and calculation of the popular elements of the business, and it is the practice of "catching" the mainstream.

Of course, "catering" is not a problem. It is not a problem. "Catering" should be the vocation of commercial films. There are different kinds of movies, and there is no right or wrong in the adaptation, but there must be a difference in art. Like "Journey to the West" and "The Romance of the Gods", why are the stories of "big troubles" and "what is the sea" can be tested by time, spread and influence so much because of the deviant and resistance of the characters themselves? The authority and the core of the spirit and spirit that do not cater to the mainstream.

Having said that, in fact, I did not want to criticize the meaning of this film. On the contrary, I feel that it is serious in production and rich in commercial elements. It is a successful commodity; only when someone praises the film at the artistic level, I There will be reservations, and of course will not agree. A "good-looking" movie does not mean that its artistic level is high. This is naturally a matter of two.


It is precisely because "The Devil's Coming to the World" can actually represent the highest level of current Chinese animated films, so I feel that it is not too harsh for it. How to further the creative angle, not only to cater to the mainstream; or in the character design can make true originality ("The Magic Boy Comes into the World" character design is obviously influenced by a lot of Japanese and American animation, art style It is not uniform. I think Chinese animation actually has a long way to go.

Don't be too easy to be complacent. If you don't move, you will feel "burning". It is not a bad thing.


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