"To be or not to be", this is the first line of the movie. In fact, Hamlet's next sentence makes it more clear: Facing fate, which one is more noble, silently enduring or standing up to resist? The horse floated in the clouds and died, he said, it was no different from being alive. And we imagine Hamlet asking: In that sleep of death what dreams y come? Some people think Jiang Wen is an extremely narcissistic person. First of all, in my outlook on life, I have always felt that narcissism is a virtue. If you don’t take care of yourself at all times, If you don't face everyone, you won't get a lot of love and gains. So in that case, most of Orson Welles and Woody Allen's movies are narcissist movies. What's more, people who are familiar with Jiang Wen should know very well that close-up and close-up shots have always been Jiang Wen's own style. When shooting dialogue scenes in any of his works, most of the actors face the camera directly. The jumping images make the movie look a bit chaotic, the fast moving shots are dazzling, and the fragmented and connected narrative makes people "cannot understand". Many people have experienced discomfort of one kind or another and attributed it to Jiang Wen's "only caring about himself and not caring about the audience", but rarely reflect on their own reasons. I deliberately went to see the first show on the first morning. In the end, the first-day ticket sales for Chinese films were fourth, but the effects and imagination of the film are already considered rare masterpieces of Chinese films. In addition to showing off his skills and paying homage to his favorite movies, Jiang Wen also expressed his satire on social phenomena, his helplessness in life, and his feelings on love and friendship. The lines in the series are full of cleverness, and they are full of information, with countless quotations from classics and knowing little humor. I have always liked Jiang Wen's banter in movies, his self-deprecation, his laughter and rants about what is true and what is false. As a fan of Jiang Wen, the movie includes everything Jiang Wen likes, including Zhou Yun, Moulin Rouge, Hollywood dance films, Gene Kelly, "The Godfather", "8 and a Half", "A Long Engagement", Riefenstahl and "Triumph of the Will", Chaplin and "The Big One", Quentin and Rodriguez's B-movies, Xinmin films, Wenming Drama and Liao Yimei's plays, Weber and the Broadway Music Festival, Raymond Chandler With Marlowe, film noir, Shanghai Qingkou, Guo Degang, Almodovar and his "Shrinking Lover", plus a little bit of "The Great Gatsby", this is Jiang Wen's "One Step Away". At the beginning of "The Godfather", Ma Zuriri is like being possessed by Marlon Brando, and he is instantly ignited, all kinds of things. Black and white images, pseudo-record editing, this is Jiang Wen's "Hugo". Jiang Wen's films never compromise for anyone, including audiences who have been spoiled by Hollywood movies and domestic comedies. Four years ago at this time, the domestic movie scene was booming, and any movie could sell for over 100 million yuan. Everyone was trying their best to pretend to understand and praise "Let the Bullets Fly." It was as if knowing these four words instantly raised the bar. I know that at that time, Jiang Wen only had one screen and generated 670 million yuan in ticket sales, but now there are more than 20,000 screens. We can't still treat the series of "囧", "心花路", "大乱天" and "Little Times" As a representative of Chinese-language films, real movie audiences can’t say it. As Jiang Wen went further and further down the path of magical realism, he also lost a lot of moviegoers. The lines parody a large number of famous sayings from the 20th century. Even the introductions of Ma Zuuri and Xiang Feitian during the Huayu presidential runoff were borrowed from a couplet written by Zhao Fan. As for his preference for civilized dramas and dramas, we can get a glimpse of it from Wang Tianwang's character setting and the monologues throughout the play. Jiang Wen has long monologues, which are especially like performing a drama, such as "The Accidental Death of an Anarchist". What he wants to express is all in these monologues, what he says to himself, what he says to the audience, and what he says to the audience. Everything the world has to say has been said, and he expressed it very pleasantly. The first time I only paid attention to him, but the second time I listened carefully, I understood. Liao Yimei is my favorite drama screenwriter. I have to say that the stage play in the first half of the movie is amazing! Jiang Wen's sincerity has not changed over the years, and his style remains the same in the movie's scenes of infatuated men and women, sunsets, slowly moving trains, and melodious and graceful farewells. He does not hesitate to use a lot of repetition and irony that affect the advancement of the story, just to explain his understanding of love, the world, and destiny. Jiang Wen was called the spokesperson of hormones in an interview with Jiao Xiongping, and his films have a rough, indulgent and empty flavor. He mentioned that film is a technology that integrates various means of expression. Screenwriter Shi Hang's comments on Weibo are generally accurate: ""One Step Away" captures the love in Jiang Wen's mind, so it's not so melt-in-the-mouth and obvious. No way, he doesn't think love is like that, half fanatical and half apologetic. , merged into a desperate and fatal tenderness. Ma Zuuri could control the whole world, but he couldn't get rid of the guilt for her in his heart, so he simply flew away in the face of the bullet." I read a short review on Douban, which gave it five stars, but the review was "Jiang Wen has never lacked talent. What he lacks is the control over his talent." It's not that Jiang Wen looks down on the audience, it's that most non-movie viewers in China want entertainment. Even if you lower your taste, you may not be able to impress these people. So even if he is a narcissistic, arrogant, leftist "child", he is still more respectable than too many funny movies. Therefore, the maverick Jiang Wen can earn money while standing, and then spend it while standing. When it premiered, some people said that this was a movie about Jiang Wen trying to make his wife happy, even though the protagonist's surname was still Ma, and even though the scenes with Zhou Yun in the last two-thirds were very exciting.

When watching this movie, I remembered watching "The Grandmaster" in the theater two years ago in the winter. Wong Kar-wai is my favorite director. It is also a slow-paced and romantic movie, with a macho heroic spirit and gentleness towards the opposite sex. Delicate, two directors who make movies very willfully, expressing their own world narcissistically, these are the real directors who respect art in my mind.