In the extremely lively New Year movies, A Writer's Odyssey's box office is still not high, but in this fantastic visual blockbuster, we can more or less see the waiting, breaking and dilemma of domestic films. The assassination novelist

A Writer's Odyssey is adapted from the short story of the same name in the short story collection Aviator by Shuang Xuetao (in the film, the names of the characters have been revised). This is a story about the interweaving of different international and actual international mysteries.

Ning Guan (good news? Because her daughter was abducted, she embarked on the road to find a woman and dreamed of a mysterious city at night. A company found him and asked him to assassinate Lu Kongwen (Dong Zijian), the author of the novel "Killing God".

In their contact, Ning Guan found that the city in his dream was somewhat similar to the city in Killing God, and his reality was also influenced by the plot of the novel.

The film chooses Chongqing, a mountain city with the characteristics of "Cyberpunk", as the shooting location. Thanks to special effects, two international fantasies can be depicted.

The visual fantasy and suspense in the plot enhance the expressive force of the film to varying degrees. And this can also be said to be a break of domestic films.

Chongqing has become a hot spot for film and television drama selection. The picture shows the Chongqing light rail in the Japanese animation Pandora.

So, what is the core left by A Writer's Odyssey after the label of "fantastic visual blockbuster" is stripped off? Novelist is a novelist in Lu Kongwen's play < P >. After writing, he has influenced the actual world, and his novels have incredible strength. Writing here also seems to place the desire of some realist writers.

Therefore, the author thinks that the core of the film is not fantasy vision and suspense plot, but-"how the text carries people's fantasies and memories, and how it finally reflects, falsifies and affects the reality in which we live".

However, from the original work to the film adaptation, it is not enough to support the thinking of this proposition. "The plot is old and the article is empty" is an "Odyssey of duplicity", and people still need these plots only because they still have expectations for writing. A novel, the fate of three people

A Writer's Odyssey (221) stills, the picture shows Ning Guan played by Lei Xi Bao.

For most of the audience who didn't do their homework in advance, or perhaps did their homework in a limited way, A Writer's Odyssey's opening remarks provided an unexpected viewing experience.

After Lei Xi Bao contributed a drama of father's love and bitter feelings that can be seamlessly integrated into Dear, Dong Zijian's face suddenly appeared on the screen, especially where will you go, who was performed by him and Tong Liya in a fantasy background.

the difference between the two lines is not only caused by the plot, but also visually implied. The former chooses realistic polishing, while the latter has a strong sense of CG and heavy colors. Perhaps the only * * * similarity is the performance of the protagonist who is suspected of overexertion.

The psychedelic state caused by this tearing feeling will need to continue for a while, because A Writer's Odyssey is undoubtedly a book with an "international outlook". This film insists on repeating the horizontal jump between two time and space until the actual and fantastic double lines are truly United in the audience's mind.

In fact, besides the plot obviously attributed to the novel and the scene obviously attributed to the reality, what was later included in the film was also about Ning (Lei Xi Bao? The dream, as well as the passionate Jobs-style speech and clear conspiracy of the technology giant.

it is not easy to plunge the audience into a complicated international view. In this regard, director Lu Yang's method is not "easy", but at least it is "serious".

The montage of sound and painting is used wonderfully, with the special effects above the industrial uniformity level, to help the audience find identity among the numerous clues.

The live content of a novelist's novel with a Chongqing accent coincides with Ning Guan's dream, and also coincides with the entrepreneur Mu Li (Yu Hewei? The physical condition is closely related; Lu Kongwen (Dong Zijian? Chongqing, where he lives, and Yunzhong City Site, described by him, are also combined with different elements in similar landforms.

The plot is gradually merged into a sentence: Lu Kongwen's novels actually involve the fate of three people in reality.

The empty prose of a teenager who is determined to kill God corresponds to the empty prose of Lu, and the cruel red-haired ghost corresponds to Mu Li, who is a technology giant. The little orange who lost her parents in the novel and Ning Guan who lost her daughter outside the story go in both directions.

Although the movie finally gave the story a satisfactory explanation rooted in materialism through Yang Mi's mouth, in the audience's intuitive feeling, the young empty prose still achieved surreal revenge through writing.

In short, it is that he "wrote dead" Mu Li who killed his father and enemy. A neglected and naive online article does have the strength it shouldn't have.

I stripped off the fantasy and suspense, and the core that A Writer's Odyssey really attracted me gradually emerged, that is, how the text carries people's fantasies and memories, and how it finally reflects, falsifies and affects the reality in which we live.

The original author, Shuang Xuetao, is well aware of the strength of this text. As he wrote in the preface of The Aviator:

"I like writing novels, perhaps it is a kind of labor-saving yearning, which makes everyone my fiction, and I am very afraid to present it to them, because it will turn all the spiritual towers in my mind into a real black apron.

It is accompanied by responsibility, sophistication and wear and tear, which is not suitable for a coward. "

In the film, the online article written by Lu Kongwen, which is hard to say excellent in quality, is undoubtedly such a kind of "labor-saving yearning". He unconsciously mourned his father through the text-this image even gradually appeared at the end of the film/article-and took revenge for it.

Comparatively speaking, what is more interesting is Ning Guan's sequel, Gatling machine gun and "Destroy you on behalf of the moon". That's another creator, a more concise and straightforward writing from desire.

apart from special effects and gimmicks, you really can't expect such a story to be novel. It's like A Writer's Odyssey's English name is A? Writer's? Odyssey: All the plots have already been written in the Odyssey.

Now you can't tell the story of a heroic expedition without attracting Odyssey; Also like a novelist's character, it was actually called "Kuzang" in the original work, but it was changed to "empty text" in the movie.

The plot is old and the article is empty, but we still need to write, and we still need to keep writing these old stories. Because they water, they belong to each creator and each reader, their own blocks. Mood and desire are still off the screen

Haruki Murakami, a writer who is thought to have influenced Shuangxuetao, said, "Life is not the hostility of death, but a part of it.

In A Writer's Odyssey, this sentence was rewritten as: "Fantasy is not the actual enemy, but as a part of it." -This proposition is simply the ultimate dream of all creators.

aviator? Shuangxuetao? The Republic of Guangxi Normal University Press, August 217. A Writer's Odyssey is included in The Aviator.

Actually, A Writer's Odyssey by Shuang Xuetao is not a book suitable for film adaptation. In addition to its short space and surreal atmosphere, the most difficult feature of the original is the expression with Japanese translation accent in many places:

"Yes, I know that this idea is appropriate and abnormal, but it seems that I have to go to the North Pole to see bears. At present, there is only one idea left, and whether it is correct or not can no longer be controlled."

In the face of the text suspected of being ungrounded, the film chooses Chongqing dialect to offset the Japanese translation cavity. The default relationship between characters, mood and behavior motivation are also supplemented.

From this point of view, we have to admit that Lu Yang has finished the second creation of the text, just like Ning Guan took over Lu Kongwen's notebook.

However, it's also a pity that A Writer's Odyssey still hasn't become a better book, despite occupying the core of the infectious story and the special effects as the main selling point of the film.

For example, Ning Guan's love for his daughter is flat and can only be stylized in repeated nursery rhymes and flashbacks; Tu Ling's defection to his employer was sudden but he didn't inform him. Of course, this may be largely related to the performance level of the main actor himself.

Lu Kongwen's fetters about his father and literature only stop in his oral and monologues; Chongqing is a good city and the darling of domestic films in recent years, but the existence of it and its dialect in the film is more like an empty spectacle.

No matter for the city or the people, the more detailed and deeper details that could have been told have been replaced by the situation of chasing and fighting above the industrial average level.

In addition, there are some interesting interactions between black armor and empty prose, which are purely self-expression of the film on the text, but it is hard not to remind people of the super-English film Venom-in fact, many comedy elements in the film are quite out of touch.

Just like a hesitant chef, he sprinkled a handful of sugar ... or even a lollipop, in order to match the taste of imaginary southern customers before the spicy pot was cooked.

These industrial saccharins, together with some exaggerated and realistic violent situations, reveal A Writer's Odyssey's poverty in positioning the New Year's Eve: I'm not sure whether it is a family reunion or a visual feast; I'm not sure if it's a tear-burning Gawain, but it's still a super British bold film.

This kind of poverty is similar to the creative experience of Lu Kongwen in the film: "It seems that Bai Hanfang is not very interesting, so don't write?" But Lu Kongwen is still bolder than Lu Yang after all.

When he writes his own story, he still doesn't think much about "what the readers really want to see", probably because his readers are really limited. The film's indecision and duplicity ultimately affect the audience's immersion, affection and substitution in the story.

After all, we can bear the story of a new bottle of old wine, and we can bear the fact that a hero named Lu has started his odyssey again, but only if we really see and believe his feelings and wishes.