>For the third consecutive National Day holiday, the audience spent time with the National Day trilogy movies.
>"My Father and I" continues the highlights of the first two films, with multi-directors and all-star cast, and still takes the little people as the entry point of the big era background, telling several stories with different themes, laughter and tears.
>The first My People，My Country was born at the historical node of the 70th anniversary of the founding of New China, which has special commemorative significance. After three years, will the audience feel aesthetic fatigue? How should the main creator break through innovation and dispel this fatigue?
>The four directors of My Father and I are all actors, especially Zhang Ziyi and Shen Teng. Can they shoulder the heavy responsibility this time? What kind of different feelings are expressed for "parents" compared with "motherland" and "hometown"?
>In 2019, My People，My Country was born at the right time. At that time, a group of directors who had the most box office appeal in China and guaranteed the quality of their works were delineated: Chen Kaige was the general director, and the rest were Guan Hu, Xue Xiaolu, Xú Zhēng, Ning Hao and Muye Wen.
>My People，My Country’s box office and word-of-mouth are very successful, and the appearance of the sequel My People My Homeland is logical. My People My Homeland began to be younger and more comic, with Zhang Yimou as the chief producer and Ning Hao, Xú Zhēng, Chen Sicheng, Yan Fei, Peng Damo and Deng Chao as directors.
>My Father and I are no longer led by top directors like Chen Kaige and Zhang Yimou. The selected directors are not only young, but also actors from across the border: Jason Wu, Zhang Ziyi, Xú Zhēng and Shen Teng. Although both Zhang Ziyi and Shen Teng are national movie stars, they have never been directors before. They don’t belong to any generation and have no fixed labels, which can bring freshness and surprise to the audience.
>It can be seen from the behind-the-scenes lineup that the National Day trilogy has become lighter and more confident after establishing brand recognition. It has opened its arms to accommodate more filmmakers to join this annual large-scale project and encouraged more creative forces to let go of their hands and feet to express themselves.
>The number of directors and units is also decreasing year by year, giving each story more space to expand. The length of each unit of Father’s Generation is more than half an hour, which is more in line with the law of film creation. There is no need to be like "Motherland" and "Hometown", and some units have to reduce the plot due to space constraints.
>The most successful point of this series is that there is no false praise at all, and the creative policy set since the first "Motherland" has been consistently continued — — We must take the little people as the leading role and tell the vivid little things that happened to them, so as to map the background behind them.
>What little people did the four "fathers" in Me and My Father choose?
>Jason Wu’s father in Riding the Wind is an ordinary anti-Japanese cavalry soldier; Zhang Ziyi’s mother in The Poetry is an unknown rocket fuel researcher. Xú Zhēng’s father in Duck Prophet is a failed section chief of medicinal liquor sales. Shen Teng’s substitute dad in A Boys’ Journey is simply an artificial intelligence product.
>Soldiers, astronauts, businessmen and robots are not great heroes in history, but military, aerospace, economy and science and technology are all indispensable pillar forces under the background of the rise of great powers in China.
>Compared with such grand and dignified words as "motherland" and "hometown", "father" is a concrete person, which gives people a feeling of being close and familiar with a lot.
>What’s more, these four "fathers" are not the traditional images of parents in China.
>In Riding the Wind, Leo never calls Jason Wu "Dad". In The Poem, the boy’s two fathers died one after another, and it was Zhang Ziyi’s mother who assumed the responsibilities of her parents. Xú Zhēng’s father in The Duck Prophet made his son so ashamed that he pretended not to know him and took a detour. Shen Teng plays a father who is not related by blood in A Boys’ Journey, and even more coincidentally, in the end, the father and son become each other’s "fathers".
>Therefore, what Fathers wants to talk about is, in the final analysis, the word "inheritance", which tells how China’s achievements in labor and wisdom have been passed down from generation to generation.
>Perhaps Sheela’s Hinayana wind will not have to fight any more when he grows up, but he can become a space researcher. After the successful development of two bombs and one satellite, some of their children may have gone into business. The first group of people who started their own businesses after the reform and opening up may step out of the future giants of scientific and technological innovation.
>Different times have different missions, which is the strategic point of Me and My Father.
>Going to the cinema to watch this series of movies on National Day has become a celebration ceremony and habit for more and more families. A movie ticket is the only one in the movie circle, which can see stars in half the entertainment circle and feel stories of different types, themes and styles.
>My People，My Country takes time as the sequence, My My Hometown takes space as the axis, and My Father and I take generations as the chapter, giving consideration to both, respectively telling the story of Jizhong cavalry regiment during the Anti-Japanese War, scientists in the desert during the period of two bombs and one satellite, Shanghai businessmen in the early days of reform and opening up, and Shenzhen families in 2021.
>What kind of answers did the four directors hand over this year?
>The first unit, Riding the Wind, has a typical Jason Wu-style tough guy’s blood, which is comparable to the anti-Japanese version of Wolf Warriors. However, after consulting the historical data of Jizhong Cavalry Corps, we know that the war scene presented in the film is not a "drama", but that the enemy’s strength is so disparity and the war is so tragic. Those pictures of guns and guns with blood and broken limbs and limbs are a painful page in the history of the Republic that cannot be avoided and should not be forgotten, and the fearless spirit shown by teenagers riding the wind has planted the fire of victory for the future.
>Riding the Wind by Me and My Father, Jason Wu, Leo.
>Riding on the Wind not only has the shock of war drama, but also has the deep affection of literary drama.
>At the beginning, a rocker arm raised the lens, which photographed the vastness and beauty of the field scenery, as well as the magnificent appearance of the young men in the field incarnating the cavalry regiment at the time of departure. The scene of father and son having a heart-to-heart conversation at night, in the way of man-to-man conversation, puts the feelings of mutual concern between father and son and their common aspirations — — Killing the enemy, serving the country, and dying in the battlefield are deeply expressed. When the old horse returned to the team alone, and Sheela named the newborn "riding the wind", Jason Wu’s delicate performance was moving.
>Riding the Wind by Me and My Father, Jason Wu, Leo.
>The second unit is Zhang Ziyi’s Poems. I haven’t recovered from the shocking scene of Riding the Wind, but I was surprised by Zhang Ziyi’s first shot.
>It was a long shot with extremely complicated scheduling, which shuttled among a large group of children playing wantonly, briefly explaining the elements of the story: the small town on the border of the desert, the children’s perspective, and at the same time throwing out the question: where did the parents of these children go? Then, a strange loud noise frightened the children and aroused the audience’s appetite.
>Later, we learned that the couple played by Zhang Ziyi and Huang Xuan were the rocket fuel engineers of the first artificial satellite in New China. Compared with their contribution to scientific research, The Poem shows more about how parents and children get along with each other, revealing the flesh-and-blood side of these great craftsmen. Punish the leg in front of the child, the rare shredded pork in the dish, explain the image of Kongming Lantern when the rocket is fired to the child, and the simple poem &hellip at the end of the film; … All give this unit a delicate warmth from a female perspective.
Poetry of Me and My Father, Zhang Ziyi and Huang Xuan.
>The director, chief producer, screenwriter and other important positions of this unit are all women, and the astronaut who finally went into space on behalf of China is also a woman. I have to say that it is necessary and precious in a work like Father. The director’s answer sheet handed over by Zhang Ziyi for the first time has also been well received by the audience.
> Zhang Ziyi’s directorial debut came a little late, but it happened at the right time. If she hadn’t been the mother of several children and accumulated a lot of feelings about life, I’m afraid she couldn’t shoot such a story about her mother. Just directing the performances of dozens of children is already one of the biggest challenges in the directorial profession.
Me and my parents, Zhang Ziyi.
>The first two units earned enough tears from the audience. From the third unit "Duck Prophet" directed by Xú Zhēng, the story began to turn to a cheerful comedy tone.
>"Duck Prophet" is a metaphor that makes people clap their hands. It refers to those who are quick-witted, can smell the change of the times keenly, dare to try, and finally occupy the forefront of the times and succeed. For example, the first to buy stocks, the first to start a company, the first to buy a house in Pudong, the first to use a mobile phone, and so on.
>After Xú Zhēng was assigned to the period of reform and opening-up, he didn’t shoot those big entrepreneurs and big shots who had long been household names. Instead, he chose a pioneer who was not to be seen as an advertiser. With a large number of translation shots, retro decoration and comedy scenes with great sense of form, the image of "Duck Prophet", a snobbish, respectable and vivid little guy, was deeply rooted in people’s hearts.
> My Father and I, Duck Prophet, Xú Zhēng, Song Jia and Han Haolin.
>Zhang Yimou’s guest appearance was a stroke of genius, not only because Zhang Dao’s lines and performances were brilliant, but because of the appearance of such an image of a cadre who dared to take responsibility and carry back the pot, the macro policy of vigorously encouraging the development of the private economy and letting a hundred flowers blossom in the market was implemented.
>The Duck Prophet of Me and My Father, with a guest appearance in Zhang Yimou.
>The final advertisement mixed with the material of the development of New China is also very memorable, which opens up the pattern and vision of the whole short film, and it is not the "Duck Prophet" that expresses the power, but everyone in China and this era that has given everyone countless opportunities. Xú Zhēng is really a brilliant Shanghainese.
>In addition, Xú Zhēng is the only director who has participated in the National Day trilogy for three consecutive years, and his films are basically stories about his hometown Shanghai and its surrounding areas. The Duck Prophet and Leap’s scenes and roles have certain continuity. Xú Zhēng made this series into a series that changes every year, expecting more follow-up stories in the future.
>Shen Teng’s A Boys’ Journey, like the unit starring him and Mary in Hometown last year, is the comedy and the finale of the whole film.
>This is a sci-fi comedy, and it is the first comedy in which Shen Teng keeps a straight face all the time.
>Because Shen Teng plays a highly bionic robot, this robot is very advanced on the one hand and has a very fragile achilles heel on the other — — There will be no electricity, afraid of water. Therefore, the sudden intrusion of this robot is not threatening. Even a child can subdue it with a water gun. In order to retrieve the energy ball, the robot can only agree to the condition of "playing the father on the parents’ day" proposed by the little boy.
>"My Father and I" and "My Youth Travel", Shen Teng.
>If an ordinary actor plays a robot, he must play how he plays, while Shen Teng uses accurate and funny body language and lines of "serious nonsense" to make the audience believe the role while laughing. For example, he explained that the belly is to absorb shock and protect the core parts. Parents’ Day uses super powers to satisfy the little boy’s self-esteem, which makes the audience feel good about watching superhero movies.
>Many old acquaintances of Mahua FunAge can be seen in this unit. The actors of Twist have honed excellent comedy proper limit in front of countless stages and cameras, and every burden can be heard. "This power is not mysterious", "You are professional when you look at it, look at the chassis first when you look at the car", and every sentence in the lines is a joke.
>"My Father and I" and "A Young Man’s Journey", Shen Teng and Mary.
>Just like ET and Changjiang No.7, the childlike stories of children and aliens never seem out of date and will always bring people moving. Finally, in 2050, a small reversal was designed, meaning that teenagers are the future of the country, and a happy ending was written for the story of "Father", which tells the intergenerational inheritance.
>The four units, from sadness to joy, are harmonious with each other and memorable.
>Just like ordering a dish of delicious food, eating four dishes at a time, Xian Yi, young and old, is full of fun.
>At present, it is not known whether there will be a new sequel to this series. With the excellent box office and word-of-mouth blessing, it will not be surprising to continue to sit firmly in the National Day file. This IP has become the symbol and representative work of the concept of "New Mainstream Movies in China". Just like the Spring Festival Evening is to the Spring Festival, it is expected to become a fixed program of the National Day holiday, bringing laughter and emotion to the largest audience.
>Jason Wu, Zhang Ziyi, Xú Zhēng and Shen Teng directed Me and My Father.
