The box office broke 100 million? What Hu Ge wants to discuss in "Stop-and-Go" is already the next level!

Babbling is the light

2024-06-28 20:45Creators in the entertainment field

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01 The box office of the movie "Stop and Go" exceeded 100 million, and the director used plain expression to slowly enter the hearts of the people, avoiding preaching and sensationalism.

02 The film takes exploring life as the theme and tells the story of the protagonist Wu Di's confusion and struggle in life.

03 Among them, the setting of the play within the play has become a highlight of the film, showing the philosophy that life is like a play.

04 On the other hand, the mourning and lying atmosphere in the film reflect the social mood in the post-epidemic era.

05 Overall, "Stop-and-Go" gives the audience the right to think for themselves, and realizes the collision of ideas between the director and the audience.

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1. 100 million box office: Niche movies with the blessing of Hu Ge and Gao Yuanyuan are going against the wind

On June 26, 17 days after its launch, according to the data of Lighthouse Professional Edition, the box office of the movie "Stop and Go" finally exceeded 100 million.

Theoretically speaking, it took 17 days to break through the box office of 100 million, which is not a good data, and it should not be discussed. However, at the moment, the film has been a favorite of recent critics.

won three major awards at the Beijing International Film Festival Temple of Heaven Award (Best Film, Best Supporting Actress, Best Screenplay), starring Hu Ge Gao Yuanyuan, a niche literary film produced at a small cost. Aside from the specific content, these three buffs alone are enough to make the film have a high degree of discussion, not to mention that other movies in the same schedule are not very good.

The "applause or not" of literary films is basically the consensus of the industry and even the public, what the filmmakers and the main creators are striving for is to win awards, and a high box office can only be regarded as a beautiful vision.

As a popular actor, Hu Ge has a lot of scripts to choose from, but from his idol debut, to now becoming one of the main forces of middle-aged actors, he has a higher artistic pursuit. In fact, at the current stage, what Hu Ge lacks more is a high-grossing commercial blockbuster, and he still chose "Stop-and-Go", which is undoubtedly an attitude presented by the main creators represented by Hu Ge towards domestic niche literary films.

The 100 million box office with the blessing of popular actors is not a surprise of "turning the tables against the wind", nor is it a tragedy that can be called "dismal at the box office", but it is an attitude of "going against the wind".

2. Failure of direction: Exploring life does not necessarily have a preset goal

Throwing out the outside label, what kind of story is "Stop and Go" at the content level?

There is no doubt that "Stop and Go" is a film that "explores life", and the presentation of the play is the director's refinement of life.

And on the narrative level, the logic of the story told in "Stop and Go" is the opposite of most films. Most movies will have a very clear main line - the protagonist needs to achieve a goal, and all kinds of things will happen on the way to achieve that goal, and the end of the film will also end with "whether this goal has been achieved".

In "Stop-and-Go", Wu Di (played by Hu Ge) actually does not have a clear goal, the collapse of the screenwriter's dream in Beipiao seems to have made his life lose its direction, after returning to his hometown, he is not clear about what kind of life he wants to live, he seems to have lost the control of his life, even the script he wrote was filmed, but it was gradually realized under the promotion of Feng Liuliu (played by Gao Yuanyuan) and others, if it was only Wu Di's personal wishes, the filming of this film would come to an abrupt end at many nodes.

So this film must not be the kind of film that "can guess the end by watching the beginning", and all the accidents will not lead to a path that seems to be in line with expectations like other films.

For example, Wu Di did not get together with Feng Liuliu in the end, and he did not embark on a career as a screenwriter again because of the film he wrote the script, etc.

Every part of the film that may slide into clichés stops abruptly in the rush of life, and reverses to the next chapter that does not conform to the logic of drama story creation but conforms to the possibility of life.

Because of this, some people think that this film is "real", "not bloody" and "not vulgar", and some people feel that this film doesn't even tell the story well after watching it.

However, how many people's lives can really rush to the end along a goal like the creative logic of a drama story. How many stories in life have not all come to an abrupt end and lost their direction? Even in the lives of many people, even a so-called "goal" may not exist, and they can only be pushed by the outside world to explore a possible direction.

And isn't this exactly the presentation of Wu Di's life in the film?

3. Mourning and lying flat: the mood of the times in the post-epidemic era

Looking at the tone of the whole film, although interspersed with countless jokes up to the end (by the way, these jokes are not over-exaggerated, which is gratifying), it seems that a group of people are also busy doing "big things", but the atmosphere of "mourning" and "lying flat" has never stopped.

In recent years, this kind of "lying flat" movies with a sense of "mourning" can be said to be a concentrated reflection of the mood of the times in the post-epidemic era. Drama creators have also grasped this realistic and easy-to-use theme, or a realistic and easy-to-use attitude to life. On this basis, whether it is from "mourning" to rising, or "mourning" to slumping, the story content frequently appears in film and television works.

But the treatment of many movies is very rough, the presentation is superficial, and it is impossible to really touch the core of this mood of the times, desperately rendering a so-called "suffering of contemporary people" into the unrealistic bloody plot, as if trying to shout out the three words "I am super mournful".

In "Stop-and-Go", this expression of "mourning" is integrated into the corners of the entire film.

As a young and middle-aged man in the Beipiao literary circle, Wu Di has not struggled, not without hard work, but his talent may indeed be limited, and the general environment is not good, he has no way to make a name for himself in Beijing's screenwriting circle, so he compromised and returned to his hometown, but he still can't find a job in his hometown because of the backward development of the film and television industry, his age over 35 and many other reasons.

No matter where you live, it's not decent, it's very difficult.

In order to balance the inner dissatisfaction and the helplessness of reality, he will "pretend" with Feng Liuliu and talk about what "pursuit of the meaning of life", he never admits that he has been a "failure" in the secular sense, nor does he admit that his "mourning" and "lying flat", but this denial is another expression of "mourning", a kind of "self-hypnosis".

This kind of "self-hypnosis" stems from the inability to do anything about the status quo. If you can't change the status quo, you can only change your mind. This touches the core of "mourning" and "lying flat", which is a kind of numbness to life. Life isn't that good, it's not that bad, there's not so much why, just get used to it.

4. Life is like a play: the gaze and being gazed at in a "play within a play".

In this movie, the camera is a prop with a great effect, based on this prop, there is a "play within a play" setting in the film, and there are two "plays within a play", one is the "play within a play" in Wu Di's shooting feature film, and the other is a "play within a play" in Feng Liuliu's documentary footage.

Wu Di is not only the head camera of his own feature film, he is using his own camera to shoot other characters, and at the same time, he is the subject of Feng Liuliu's documentary.

It is both subject and object. In fact, except for Wu Di, everyone bears the dual role of scrutinizing and being scrutinized, and there is no way to get rid of any kind of identity.

Just like the sublimation of this film, Wu Di's father was extremely disgusted with Wu Di's films, and made many tones, when captured by Feng Liuliu's documentary lens, he showed strong resistance, but in the end, in order to realize the ideals and wishes of his deceased wife, he changed from an outsider to an insider, and walked into Wu Di's film lens. Life is like a play, and drama is like life, but that's it.

You are looking at others, and you are inevitably being scrutinized by others. Each of us is the protagonist of our own story, others are watching us, and at the same time we are the audience in other people's stories, we are watching them, without exception.

And the director did not stop at such an ingenious little idea, he further excavated, under such a dislocation scrutiny, what kind of mistakes will human society collide with.

As a result, Feng Liuliu, who originally planned to record Wu Di from a positive perspective, was deprived of the right to create by the leader, and under the malicious editing and processing of the leader, Wu Di became a middle-aged man who did not learn and did not know how to do it, and returned to his hometown after a complete failure. This plot setting is actually not uncommon, for example, in "Hot and Hot" at the beginning of the year, the protagonist Le Ying was also viciously cut.

This phenomenon of "evil cutting" actually magnifies the very practical problems we encounter in real life.

It is too normal for others to be one-sidedly defined, misunderstood, or even slandered.

Just like Wu Di feels that he is "talented" although he can't get along in Beijing, Feng Liuliu thinks that Wu Di is "very thoughtful", and Feng Liuliu's leaders feel that Wu Di is a complete "failure".

5. Anti-preaching and anti-sensationalism: Give the audience more rights to think for themselves

The movies that I like have one thing in common - I don't take the audience for fools.

The "daddy" of some movies is too heavy.

Perhaps because of the director's lack of narrative skills, or because he is eager to express the director's thoughts, many film directors like to "reason" to the audience straightforwardly, transmit what they want to express to the audience as quickly and accurately as possible, and even use various audition languages to exaggerate this emotional expression and preaching tone, thus proliferating sensational dramas.

In addition, there may be some directors who want to capture the sinking market for box office considerations, so they are committed to lowering the threshold for movie-watching.

But this kind of operation really "treats the audience for fools" in my opinion.

After watching a film, almost all the audience were led by the director, and everyone made a similar theme refinement, which can indeed effectively prevent the audience from shouting "what are you talking about" after watching it, so as to ensure that their film is correct. However, this kind of treatment is a bit too "de-artistic" and "centralized" for the art of film.

The director of this film obviously does not want to eagerly and straightforwardly instill his exploration of life to the audience like instilling knowledge in students, after all, this film originally wanted to express that "life does not necessarily always have a direction", and naturally there is nothing conclusive to elaborate, and it is even more abandoning excessive exaggeration and slowing down people's hearts with plain expression.

The weaker the didactic film, the easier it is to inspire the audience to have different understandings and perceptions, and in a sense, it gives the audience sovereignty - the right to think for themselves. Based on this, the director and the audience realized the collision of ideas and jointly wrote the meaning of the film.

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