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According to the statistics of Maoyan professional version, has been released for 15 days, and the box office of the movie " Life Events " has continued to fall, exceeding 1 billion, breaking the 8 records of family film box office results , including the summer season family film box office champion, total number of events, weekly moviegoers, second weekly box office champion, and 2022 family film mainland box office champion and moviegoers champion, etc.; if it continues to be subdivided, 43 milestones have been created.
has achieved remarkable results, and I have to talk about it.
For the official "difficult" industry, the success of a film cannot save the market. However, in the overall confusion and weakness, cases like "The Great Events of Life" play a crucial role in boosting morale.
In an unpredictable environment inside and outside, a movie often has an unpredictable fate. Behind the success is the comprehensive result of "the right time, place, and people".
"The Big Event in Life" is not entirely the result of audiences' retaliatory viewing after the decline of the epidemic. We can observe that most films are still in a wait-and-see attitude after the theaters resume business one after another. The fewer videos are released, the more cautious the audience will be when facing choices.
The box office decline of "The Big Events in Life" is due to the recession of the entire film market, but the most important thing is that it has consolidated its unique position with its reputation. If the quality of is not up to standard, it may also gain some box office benefits from retaliatory movie viewing, but if it lasts for a few days, it will still become one of many domestic cannon fodder films.
Good content may not all become popular, but bad movies will definitely not get high box office.
On the other hand, the breakthrough in "The Great Events in Life" has also brought great significance to the industry. Innovation requires courage. If you don’t have a sincere work, you will definitely encounter a backlash. After all, the Japanese " Decorator " is the first "domestic funeral industry movie" is in front of you, and the audience will definitely compare it. Therefore, the success of "Big Events in Life" is also an affirmation of innovation, and it undoubtedly broadens new ideas for the increasingly conservative film and television industry.
Although "The Big Events in Life" are worthy of recognition, in terms of the quality of the film, it is not completely flawed. The reasons why the audience buys and the shortcomings at the content level are more obvious.
1
Rational localization of scarce themes
Above mentioned that when it comes to classics in the funeral industry, it is impossible to avoid the Japanese movie "The Devourer" that won the 81st Academy Awards Best Foreign Language Film. Many people will also naturally compare "The Great Events in Life" with "The Immortals", and will worry about whether they will "hit the car". But obviously, although the funeral industry is all about, the perspective presented is completely different.
"The Devourer"'s awe of death brings a sense of ritual for the profession of the Devourer. The moment of the devourment in the film is clean and tidy. The protagonist is wearing a black and white formal attire, and everything seems solemn and solemn. It is this kind of sincerity and inviolability to offend it to make it a classic work.
Stills of "The Immortal"
Compared with this, "The Great Events of Life" looks fancy. The protagonist always wears fancy shirts, shorts and slippers, and a large metal chain, full of ruffianism. The old ancestral funeral shop "Going to Heaven" is stale and shabby, and the eyes are full of bad luck. But is this dirty and messy down-to-earth that brings back the Chinese audience's imagination of this industry since "The Devourer", making it face the real situation of China's funeral industry.
In China, the reason why marriage and funerals can become a word has their own commonalities. Here, there is no high-end aesthetic of "sexual coldness", but more of a pursuit of excitement. Even the funeral was accompanied by various mourning and singing.
It is precisely this point that makes "The Great Events of Life" completely separate from the context of comparing with "The Devourer", and can carry out localized narrative without distraction. Although it has not become a classic, it is worthy of praise before following others' footsteps and imitating it poorly.
The two videos are not without similarities. For the special industry of funeral, the protagonist has a certain consistency from being forced to accept to being full of awe.
The protagonist Mo Sanmei in "The Great Events in Life" has a criminal record of fighting with her rival in love. She lives in the shadow of her deceased excellent second brother for many years. She has a bad relationship with her father, but she wants to get a "go to heaven" property, so she can only grit her teeth and work as a funeralist as her father wants, but he looks down on this profession in his heart and wants to change careers as soon as he gets the property. But as for what he wanted to do and what made him feel meaningful, Mo Sanmei was confused.
mixed and broke the jar and broke the jar and started to change, which stems from taking up a business. An old man passed away and he met the old man's granddaughter Xiaowen. The emergence of the short article of
introduces the perspective of children and allows the film to avoid preaching the original heavy life and death events. The child's innocence and ignorance dissolves the complexity of death. Through the mouth of the protagonist, we and Xiaowen get a fairy-tale, romantic and pure answer about death - grandma did not disappear, she became a star, and the funeralist is the "person who planted stars".
Because of the actor's convincing performance, this kind lie will not be regarded as a childish "liar child", but is wrapped in a layer of warmth to protect the innocent heart. Later, the description of Xingxing became Xiaowen's perception of death. Death became no longer terrifying, but became another form of guardian.
's explanation for children also inspired adults to think again. Through funerals one by one, Mo Sanmei continued to touch on the essence of funeral industry and death. At the same time, the increasingly deep emotional bond with Xiaowen made his wandering life begin to have things he wanted to protect and cherish. When a profession is given a noble meaning, work will become a belief. And the reason why this meaning is noble is because Xiaowen regards "people who grow stars" as a profession worthy of pride.
But in terms of the depth of discussion on the issue of life and death, "The Great Events in Life" is still a lot worse. The reason is that 's main line and theme are not "The Immortals", but rather "The Thief Family". Because the "family" combination of non- kinship is quite similar.
Xiaowen has no parents. After her grandmother passed away, she was disliked by her aunt, so she accidentally lived with Mo Sanmei and two partners. Mo Sanmei wanted to adopt Xiaowen, but because she was not married and did not meet the adoption conditions, Xiaowen's household registration was listed on the household registration of the couple's partner.
As the relationship deepened, Xiaowen finally regarded Mo Sanmei as her father. Even if her biological mother suddenly appeared in the end, it would be difficult to break up the emotional connection between the two. The final appearance of the four people is a non-kinship family. Although Xiaowen's biological mother's "involuntary entry" forced the warmth card, greatly reducing the entire idea, the discussion on the relationship between family combinations is still worth pondering.
2
The difference between the masterpiece
For genre films, telling a story that audiences like is the first priority and the basis, but the distance between "The Great Events in Life" and the masterpiece lies in its view as its entire pursuit.
Whether it is the view of the profession of funeralists, the understanding of death, or the discussion of non-kind families, it is a state of simplicity.
There are two more important scenes, one is the body of Mo Sanmei "reorganized" the love rival, and the other is the death of her father to hold a decent farewell ceremony for her. These two scenes are Mo Sanmei's single growth line.
The first scene is the reconciliation of Mo Sanmei's emotional experience with her past failures. The betrayal of his ex-girlfriend caused great trauma to Mo Sanmei's self-esteem, and also made him look down on himself and his profession for a time. The ex-girlfriend's husband died in a car accident and his body was no longer invisible. In order to satisfy his parents' wish to see his son again, his ex-girlfriend came to ask Mo Sanmei to reorganize her husband's body. So under the teachings of his father, "One goes with the tendons, two sticks with the bones, first the limbs, then the trunk, and the internal organs cannot be messed up." Mo Sanmei overcame her physiological fear and completed this process through the mantra.
This scene is extremely important and is the most named and sublimated content among all the "Funeral Funerals" in the film. On the basis of self-emotional reconciliation, what is more important is to reconcile with the fathers, reconcile with the original family, and reconcile with the funeral master. It is the inheritance of traditional funeral craftsmanship and the inheritance of family beliefs. It is an extremely solemn and solemn moment.
But the disadvantage is that the video uses a clock lens to explain the process, but because of this, it seems that the scene is really too short.
The topic of "decent farewell ceremony" for Mo Sanmei before her father died was also filmed too hastily. Mo Sanmei had a sudden inspiration and thought of turning the ashes into fireworks, so she took them away and started a car chase scene where she competed with her elder sister.
But the unreasonable here is that this is a drama that is completely unnecessary to grab time. There can be more and better ways to deal with it. For example, communicating with the elder sister first, and then taking urgent actions without success, which is more reasonable in terms of motivation, and it can also reflect Mo Sanmei's personal gradual maturity in handling things. In addition, the fireworks that bloomed in the sky at the end were too gorgeous. In order to pursue romanticization, they kept giving close-ups of Mo Sanmei and the front and back shots of fireworks. The duration was too long and detached from reality.
This is a problem with the director's technique. In order to move the audience, in addition to the abuse of close-ups, tear-jerking means through background music also appear relatively low-level. Audiences with a little read may be vigilant about this and then lean back tactically.
Of course, the biggest failure is the sudden appearance of Xiaowen's biological mother mentioned above, and the problem of his final joining the "Going to Heaven" team and family. The story is drawn too roundly, which reflects the creator's lack of confidence.
But overall, "The Great Events in Life" is from the hands of a new director and is a sincere work. The actor's performance is worthy of praise. In such a general environment, it is worthy of some support.
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