In literary works, the common birch forest is swaying, which has the characteristics of a gentleman with a big tree and attractive charm. It has been forgotten by filmmakers and has become the protagonist who appears repeatedly in the camera, making a grand debut in Purple Day. On the Yuan Ye in autumn, there are golden daisies, purple alfalfa and white lilies, which are meditation and confession.
A pair of rough old people's big hands in rural China, holding the music box painted with Juan people, passed around in the hands of Japanese girls and Russian old women, and finally landed on the black land with colorful leaves. This is a memorial to the souls of innocent people who died in the war, a curse to arrogant warmongers, and a sincere hope for peace and friendship. Even in the case of war and smoke, nature still has irresistible beauty of terror. The simple but humorous dialogue of the characters is set off by the oil painting texture and the timely sounding strings, which shows the charm of the film as a comprehensive art.
Director Feng himself said, "I advocate aesthetics"; And that's how his movies are shown. Even in the hardships of life, the aesthetic feeling of "wildfire never completely devours them" grows as tenacious as spring grass. Aestheticism is not so much an artistic proposition as an ideal of life.
The three main characters in Purple Day are all flawed characters. China farmers are narrow-minded, Russian female military doctors are naturally aloof, and Japanese female prisoners of war have someone else's inheritance in their blood. However, all this cannot hinder mutual understanding and love between people.
Love is stronger than hatred, and peace is more lasting than war. In the film, when Yang Yufu, a wussy farmer, raised his knife at Qiu Zi, a Japanese girl, his mind flashed through his compatriots killed by Japanese soldiers, but he could not bear to hurt the unarmed enemy girl. This "unbearable" heart is a kind heart respected by the ancients and a love respected by modern people. Love triumphs over hatred. In that do or die, it was the Japanese girl who was saved, and it was also the conscience of human beings not to yield to barbarism and brutality.
Conscience can renew conscience. Qiu Zi, a Japanese girl, was so emotional that she couldn't control herself after hearing the news of her motherland's defeat and surrender. She pointed a gun at Yang Yufu and Najia, but was unable to pull the trigger. Her heart defiled by militarism has finally shown some signs of recovery. At the end of the film, Qiu Zi was shot and killed by his compatriots to save a little brother. She shot for love and died unsatisfied.
The weight of Purple Day increases with the statistics of the death toll of World War II at the end of the play. China has the largest number of deaths, exceeding 30 million. The beauty of Purple Day is self-evident. (Changjiang Daily, Peng Li)
A Brief Comment on the Anti-Japanese War Movie Purple Day
1990 The Meridian Flow directed by Feng is full of aura, free and easy editing techniques in time and space, and even a touch of genius. The film won the special director award of 1 1 China Golden Rooster Award, the Japanese film critic award of the 4th Tokyo International Children's Film Festival and the gold medal of the 2nd Kyoto International Children's Film Festival. The story tells that during the war years, a revolutionary team marched westward along the Great Wall, and the young soldiers experienced the baptism of blood and fire, the test of life and death, and came to modern times through time and space ... The undisguised sense of form made the Meridian Liuzhu the most beautiful work ever written by Feng. From then on, Feng suddenly fell in love with Zhang Yimou-style landscapes, and began to exert "visual effects" in red river valley (1996) and The Yellow River Lost in Love (1999). However, the beautiful scenery of mountains and rivers can't cover up the plot defects and rough special effects, and Feng's works that pay attention to appearances are more deceptive, often exposing the embarrassment caused by the serious unsynchronized development of stunt ambition and stunt level. Therefore, behind the "garlands" awarded by a series of domestic government awards, Feng, with infinite scenery, has reached the point where he is overwhelmed, unappreciated and surrounded by excessive praise like Zhang Yimou. Their works with numerous injuries and low-level mental retardation are often unacceptable, and every new film is bound to attract a scolding.
Purple Day caused a sensation, not because of the international cast of "Chinese, Japanese and Russian actors together", but because of the picture of "Japanese soldiers assassinating the old lady" in the play, which aroused the laughter of the students. It is said that this completely contrary to the author's original intention made Feng extremely angry. While applying to the film management department and the education department for red-headed documents as amulets, he accused these teenagers of psychological quality problems and expressed his grief over the current educational situation. In fact, children laugh at Feng and the idiosyncratic stupidity of the domestic film directors he represents. This paragraph is not to create a comedy atmosphere. On the contrary, the author's real intention is to highlight the anti-war theme with the cowardly performance of Japanese soldiers who dare not kill people. However, the director did not really shape the characters from the perspective of human nature, but deliberately vilified the image of Japanese soldiers in accordance with the practice of domestic films. It is not surprising that, coupled with the seriously exaggerated performance, the opposite effect has been produced.
The "large-scale war scene" at the beginning of the film reflects the innate spirit of "letting the donkey pull hard shit" that domestic film directors are eager to achieve. There are scattered shots everywhere, and there is no spatial beauty of scene scheduling and multi-camera shooting. Almost every shot makes people doubt that the production cost of the film is not as big as the legend, and the poor blasting and sound effects are even more ridiculous. The special effects production of the air-sea battle at the end of the film is as arrogant as the TV series "Beiyang Navy", thinking that it is easy for the audience to be deceived if they don't distinguish between true and false, and repeated shooting with many loopholes will be indecent to the audience's IQ-this "going through the motions" war scene is neither ornamental nor shocking. There are many technical failures, just like the push-and-pull lens of TV News Photography, which proves that Feng's directing technology has completely regressed. What is particularly intolerable is that the techniques of "flashback of time and space" and "interleaving of time and space", which once made people shine in Meridian of War, are extremely mechanical in Purple Day, and almost no paragraph can surpass the imagination of the audience.
Feng's "War and Peace" series has been filmed for the sixth time, and the flags of revolutionary romanticism, patriotism and humanitarianism are getting higher and higher. A work that attaches so much importance to ideology should be respected by the audience, but Purple Day is hard to excite the audience, because the expression of the film is really depressing.