Macao 1949 is jointly produced by Bayi Film Studio and Zhuhai Film Artists Association. Based on the little-known historical event of 1949 that underground workers of our party successfully resisted the Kuomintang American landing ship "Lianrong" and raised the first five-star red flag in the inner harbor of Macao, the film truly reproduces the mental state and resolute resistance of the officers and men of "Lianrong" from a unique perspective. The plot is true and touching, the story is thrilling and tortuous, the narrative is dignified and the plot is delicate, which eulogizes the victory of our party's patriotic United front. It is conceivable that this theme film was released on the occasion of the tenth anniversary of Macao's return to China.
It's an honor. Recently, I was invited to attend the grand premiere of Macau 1949 in Zhuhai. This film was born out of the original script of Zhuhai local video community, and was adapted from the true story of Captain Lian Rong's mutiny and surrender in the inner port of Macao and raising the five-star red flag. Zhuhai Film Festival has been dead for two times, and Zhuhai, once a hot spot for movies, has nothing exciting. Macao 1949 is fortunate to meet the public on the occasion of the 10th anniversary of Macao's return to China. The tentative cooperation between Zhuhai and Macau filmmakers separated by a wall has also provided new ideas for the co-production market of China films. Compared with large-scale commercial operation and publicity, the cooperative filming method with region as the link, culture as the context and image as the carrier has the advantage of being closer to the audience and citizens. Here, the box office has become the second, and the film itself has become the only focus.
The three-minute video exhibition puts forward cross-regional cultural exchanges and cooperation. Zhuhai's predecessors took the lead in taking a substantial step, and Chairman Fu Ming's determination for the rapid development of local film and television can be seen.
Now, whenever I look through various laws, historical sites and records, I will find that our history is actually a so-called "heroic history" touted by emperors, generals, talented people and beautiful women. Throughout the vast history of China, only the names and titles of some great men have flashed. The history written by these symbols constitutes the "official history" that we can see for a long time. The mobile history of drivers and pulp sellers has been swept into the garbage dump of history, lingering in most moments in the long river of history, struggling to reveal their own breath in the cracks. The fate of little people is hard to see in the history of China. We usually call it "unofficial history", as opposed to the so-called "official history".
Marx's historical materialism tells us that history is not created by individual heroes, but written by millions of ordinary people in Qian Qian. In the era of collective unconsciousness, the personalized expression of individual stories was drowned in the carnival of collective unconsciousness, so Lu Xun denounced history as "cannibalism", which implied that the whole history book, except for a few familiar names, could no longer see ordinary people. Generally speaking, China people are keen on the daydream of "great achievements and bones dying" and worship the human scenery on the shoulders of giants, but just ignore the "bones" and "shoulders" that heroes rely on to achieve or retire at one stroke. In today's literary world, there are still many scholars who continue to reverse the verdict for the so-called "official history", set up monuments and make biographies for heroes or heroes. The writing style of "ghost" and "ugliness" in eulogizing history lies in that it directly distorts the cultural principles of writing, and the responsibility of restoring "humanized" and "popular" history falls into the hands of a few people with conscience and insight.
History is the answer to fashion, and history is not a little girl who can dress up. The true face of history is the "big self" composed of individual "small self". The film Macau 1949 can no longer be regarded as a movie. The story written by the director is based on a historical cross-section of People's Republic of China (PRC) before and after the founding of the People's Republic of China. Among them, the role that jumped out brought to the audience was far from the "facebook" and "figurative" feeling obtained by watching movies before. Director Bao Fuming's attempt to restore the true colors of Guan in history is by no means a "fake sky" and a collage of meaning. Guan Guan, the deputy general of Guan Guan, also showed fear and vacillation in the face of Qiu's pressing step by step and the choice of honor and disgrace in his home country. After stripping off "Gao Daquan", who was once a hero model, the shaping of the role has penetrated the feelings of ordinary people such as secular desires and feelings of home and country, and even hidden cowardice can be seen. But this does not damage Guan's image at all. Guan's actor is worthy of being an old play bone, profoundly interpreting the inevitable and natural decision he had to make at the critical moment on the historical turntable. Not to mention the real customs, I have been moved by the sincerity of Captain Lian Rong in the film to his family, soldiers and country. This is the greatest strength that mortals can extend in the face of the general trend of the times. Even if there is only a moment in history, it can be called a hero.
Macao 1949 provides a new way of thinking about history. It is commendable that this film is determined to get rid of the aura of the individual as a "hero". All the struggles, wrestling, intrigues and intrigues that happened on the lotus seed are like the "wind" that was heated up a while ago, and it is a life-and-death struggle in the land of rice. The superposition of spy war, action and other elements has also cooked a magnificent group image of individuals and home countries, positions and justice, thoughts and actions. Different from the main theme movie "The Founding of the People's Republic of China", the portraits in "Macau 1949" mainly show the personality determination from mediocrity and cowardice to generate. Guan's growth is like the growth of the protagonist in a bloody cartoon. The process of upgrading, fighting monsters, picking up equipment and clearing customs is a history of hard struggle in the internal and external environment, and an atypical compromise for survival and freedom in the cracks. In the voyeurism from God's third perspective, the eyes of the audience grind out the same plane in the image, and fuse the real history, the history in the film and the history of the audience's psychology into an epic that is absolutely related to the personal viewing experience. The significance of Macau 1949 lies not in its grand scene, beautiful picture and handsome protagonist, but in the little-known "personal" history hidden in the historical dust, which makes people eager to watch and listen to "unofficial history" written in this image.
Lianrongguan was unearthed in Macau 1949. So we know their stories. Besides these, how much real history is hidden under the "official history"? In my opinion, the history written by people is the history written in capitals.