Entertainment: Starting With A Net Worth Of One Trillion, I Chose To Lie Flat

In fact, for Chen Mo, in his previous life, he had the impression that he had watched this movie.

From a professional perspective, this drama is not without merit.

Lu Chuan's biggest problem is that he is obviously making an artistic film, but he still wants to dress it as a commercial film, which makes it difficult for the whole film to be recognized by the audience.

In fact.

As an investor, Chen Mo had asked Zeng Jia to send him the script of "The King's Feast" overnight.

After reading the entire script, Chen Mo was really helpless.

I have to admit, the script is pretty good.

The concept of artistic expression based on respecting historical facts is not only implemented in the technical aspects, but also implemented in the entire story. The interpretation of history is an important embellishment in addition to the main body of "The King's Feast". Liu Bang and Xiao He had questions and answers with historians respectively, indicating the difference between historical accounts and facts.

Moreover, in addition to narrating the version recorded in official history, Xiao He also narrates the whole story of the "Hongmen Banquet" event that is very different from "Historical Records", which represents the director's interpretation.

As for whether the director's various interpretations are appropriate, everyone has a different opinion.

The Hongmen Banquet is the core of the entire film, and the title of the film "The King's Feast" refers to this in the narrow sense.

In a broad sense, if Qin loses its deer, the whole world will chase it away.

Troubled times are a feast for heroes, either with swords or fish.

The "king" is not just one person, but a contest between Liu Bang, King of Han, Xiang Yu, King of Western Chu, and Han Xin, King of Qi.

The two main lines of the film, one tells the story of Liu Bang's defeat of Xiang Yu in the past, and the other tells the story of Liu Bang getting rid of Han Xin in the present. The Hongmen Banquet is the link between the two parts.

Chen Mo understands that Lu Chuan's purpose is very clear. He hopes to convey the theme of the distortion of human nature by desire through the story of a general's success in fighting for and maintaining power.

Among the three kings, the proud and noble Xiang Yu represents "righteousness", and the simple and pragmatic Han Xin is the embodiment of "love". However, in the dark power struggle, only the scoundrel Liu Bang who tramples on love and justice can stand between them. The body won the final victory.

Even Xiao He and Zhang Liang, who were caught between the two sides, had to betray Han Xin and their conscience in the end in order to exchange for their dying survival.

The loss of all kinds of friendship reflects how desire distorts the soul and even destroys their faces.

However, Liu Bang's victory was only superficial. For this reason, he lived in great uneasiness every day, and was haunted by continuous nightmares until his death.

Next to the main line of the battle of kings, there is also a sub-line about women.

Lu Pheasant, who plays the role throughout, is also a victim of this feast. Her husband's infidelity and the cruelty of the struggle gradually transform a simple and beautiful peasant woman into a scheming and vicious queen. There are hateful aspects and pitiful aspects in this.

In contrast, Yu Ji, who was protected by men, maintained a pure image until her death.

The two contrasting women both set off and complement the main line.

Brothers who once worked hand in hand, and beloved wives who once supported each other, were gradually infiltrated by darkness in the power struggle, and turned into deadly enemies. What is more shocking than the scenes of killing each other is the distortion of human nature, and a helpless sadness permeates the entire story. .

It must be admitted.

The script is a good script.

There is no doubt about this.

What is really criticized is the way the story is told.

"Non-narrative" is the characteristic of this film.

Like novels, movies are a narrative art, but directors sometimes break through conventions and make non-narrative attempts to downplay the role of plot in movies.

The "non-narrative" of "The King's Feast" is mainly reflected in two aspects.

On the one hand, it lies in the slowing down of the narrative rhythm.

Movies that generally focus on plot have dense and complex events and a fast pace, attracting the audience to stay nervous, chase the development of the story, and gain satisfaction as the problems are solved and the tasks are realized. This is the case for most commercial films.

Non-narrative works, on the other hand, tend to have simple plots and slow pace, aiming to make the audience enjoy the present rather than eagerly peering into the future.

The elaboration of form is its focus. Taking the analogy of novels, prose novels focus on the refinement of language, allowing readers to feel the characters and understand the theme through the beauty of language.

When it comes to movies, the tool to attract the audience is not only language, but also pictures, soundtracks, actors' performances and lines, allowing the audience to fully enjoy every second of the movie with a calm mind.

However, this narrative method requires a considerable level of investment from the audience. Audiences who were not interested at the beginning will naturally feel more and more impatient as they watch.

If films that express tender themes have a wider audience, "The King's Feast" has a heavy story and dark style, so it is inevitable that it will not be popular with the public.

Another aspect of "non-narrativization" is reflected in the narrative sequence.

"The King's Feast" is divided into two clues according to time. One is the present, Liu Bang's later years, and the other is the memories of past battles. They are cut into several fragments and mixed with the narration of the present. The effect is Reality and memories appear alternately, sometimes describing the political struggles in the palace in his later years, and sometimes returning to the battlefield where horses are galloping.

This processing method belongs to the application of Brecht's dramatic theory of separation. The purpose is to interrupt the audience's immersion in the story from time to time, so that they can emotionally jump out of the plot and think calmly and even criticize.

Of course, this is not only a test of the skills of the director and actors, but also requires a higher level of appreciation from the audience.

Some viewers are confused by the transition of time and space, but for those who are invested, it is not difficult to understand the film.

All in all, the unpopular narrative technique was a major reason why "The King's Feast" failed to win more viewers and thus failed commercially.

But the success or failure of his artistic endeavors is open to discussion.

But this actually has little to do with Chen Mo. He is more concerned about Reba in front of him.

Well, eighteen-year-old Reba.

………………

Reba was sitting there, lowering her head nervously.

She has been dancing since elementary school and was admitted to the theater this year.

She came to participate in the audition this time with the idea of ​​giving it a try. After all, the role she was auditioning for was Yu Ji, the lover of Overlord Xiang Yu. This role requires a foundation in dance. This is Reba's biggest advantage.

But to be honest, she didn't know whether she could succeed or not.

At this moment.

She found that not far away, someone seemed to be watching her.

When he raised his head, he saw a man staring at him.

The other party's eyes were very aggressive, and he seemed to be looking at himself up and down.

soon.

The man came close to Reba.

Looking at him, Reba asked cautiously: "Are you here for an interview too?"

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