"The world has no thief" Richao's one: "What is the most precious thing in the 21st century? (Answer) Talent." I think how to interpret this sentence will become the core of this film.
* National conditions need *
Feng Xiaogang's work has always been a guarantee of the box office, and the contemporary Chinese social city reflected by the movie content and themes can grasp the hearts of Chinese urban people. It is like revealing the mood of the country for many years. Not scattered, "a sigh" "a sigh" to communicate with people to the "mobile phone" of the marriage issue of the Chinese-style city-style city, all of the 1980s, the fifth generation of China's directors. The creation of the director, unloading the traditional Chinese culture and value, and the formation of the ultimate and beautiful baggage, from the city, the big premise of reform and opening up, re-seeing the problems after the current Chinese society. Therefore, Feng Xiaogang, Zhang Yuan, Ning Hao, Jia Zhangke's works have gained appreciation of domestic new generation intellectuals. Of course, it also involves the issue of national conditions and the spirit of the people.
In the contemporary Chinese society that is greatly banned by information dissemination but still far from the 770s, the various urbanization sequelaes seen every day is no doubt that they are concerned about the new generation of growth in China's 1980s. Under the interaction between freedom and civil raw information transfer model, it also has made the reebrian traditional cultural value to discuss various issues related to life. Zhang Yimou and Chen Kaige turn to movie creation, which is also reflecting the trend of this city movie. At the same time, under the increasing situation of China's national strength, the rapid rise of national self-esteem has also emphasized the "traditional Chinese" "Traditional Chinese" movie turned into the thief of selling national cultural relics. At this time, Feng Xiaogang a series of urban movies should be born. Therefore, Feng Xiaogang's movie is a city, but also reflects the topics of contemporary Chinese urban people.
* Collective and inheritance *
"There is no thief", and it is an irony reason why Feng Xiaogang played in the film, and it has reached a considerable height. Everything is born with irony. There is no thief in the Central Plains, that is, there are thieves everywhere; the 20th century is most important to talents, the reality of capitalism is just the opposite, emphasis on the system, organization and coloration. However, the people of the people raised here, but hidden a problem that is more thoughtful, what is the talent we need? What is their life and morality? What they should be served in capitalism and the worship of the goldenism? Or is it a Confucian who walks in the Communist Flag?
At the same time, the film is also overcoming an extremely important premise, which we need talents and return to the next generation. Whether it is a selfish selfishness of the capitalist market economy, it is still a burden of the burden of the red flag to maintain the big idea. If everything I want to do, it has become a real concern for the next generation. The center of gravity. Li Shu (Geofu Decoction) is the inheritance and development of the thief group, whether the next generation can maintain the strength and carry forward of the group, becoming his most concerned. Wang Yan (Liu Dehua) and Wang Li (Liu Ruoying) This is the next generation of thieves, and the Xinhe is in order to make future children grow healthily. Although they have not talked about how to change it in the film. The environment of the world is the environment, or showing helplessness, but the changes in the two acts implied that it should be done as the Chinese who wants to make the next generation, how to do it.
* Confucian and thieves *
Li Shu and the king represent two distinct people, the former is a group / collective leader who strives to develop, and the latter is the lack of the thief. Shu Shi is to appreciate the extraordinary skills of the other party, the purpose is nothing more than to carry forward the thief group, and the pendant has more influence. Unfortunately, he encountered a thin, only the king of freedom, although everyone is all of the best, the same face in front of the money-Chinese, but the so-called collective spirit of Li Shu is not a magic of love freely. State-owned, therefore, the gap is uniform, and there is no need to solve the force to completely solve it in the premise of causing the difference in fundamental ideas. Alternatively, the road that will be inevitable is to be a life in a lifetime. However, who is dead, whoever, also reflects Feng Xiaogang's interpretation of the domestic directors' big names on contemporary Chinese society. Li Xi Sheng was subject to the death of the king, showing that the next generation of China needs a society that is only a system and utilitarian, nor a society that only talent and there is no morality. Li Shu was finally sold and imprisoned, and immediately revealing that China's next-generation talents did not have unique talents but selfish selfishness, but talents with moral public values, which were Talents with Confucian moral values. The king of the next generation is this kind of talent, but he is limited by the system, and it is not willing to serve the group's rule. Although the ending has suddenly surprised China's bright front road, it also proposed a for the current A New Understanding of Chinese Society, a Thought of Combining Chinese Contemporary Socialism - Confucian Thought and Fusion of Modern Rule of Law. The king is reflected in the Chinese traditional Confucian chivalry spirit and the heart. Because of what kind of talent, we have the same society, the system can only suppress people, but it can't win. Therefore, Confucianism is heavy, not a system. "There is no thief in the world", it can be said that Feng Xiaogang has so far, so far from the city problem, it is also a piece of work that is worth thinking on both sides of the audience.
