Compared with the first five films of Yan series, this drama continues to inherit the theme orientation of "superhero" in the past, and makes the protagonist Yan an invulnerable "God Man" in War of Resistance against Japanese Aggression. In order to complete the revolutionary task, he sneaked into the enemy's hinterland many times, worked undercover to collect information, and took the enemy's life like looking for something. The elusive style made the enemy frightened.
In the first five films, Yan's characterization was slightly lacking, but from the film "The Flying Eagle of Guinness", the director lost his way and began to converge on the technique of "deifying" Yan, and began to deliberately highlight the weaknesses of the protagonist's skills and expose the limitations of his personal ability, which not only did not reduce the role status of the characters, but made the characterization more three-dimensional and real.
It is said that director Qian restrained the deification of Yan in this film, which is mainly reflected in Yan and the number one villain in the play. In the process of the real Yun Jianming's wits, Yan kept a secret and let Yun Jianming succeed repeatedly. Although there are deliberate plots, this means to increase the frustration of the protagonist not only enhances the realism of the landing of the characters, but also paves the way for the finale to force Yun Jianming to die, so that this "superhero" can finally be done at one time.
"Eagle of Jinmen" does not set the story background in the front line of the Liberation War, but focuses on Tianjin in 1948.
At this time, Tianjin is a snobbish separatist regime, surging undercurrent. There are many gangs in the Kuomintang, and Yolanda of the underworld is eyeing it. In order to obtain the military deployment drawings and operational plans of the Kuomintang troops stationed in Tianjin, our army sent the special agent battalion commander Yan to sneak into the enemy with the assistance of only six comrades, pretending to be an enemy officer Yun Jianming, and fighting with Yuan of the triad and Feng Wenlang of the Kuomintang. This is "Golden Gate Flying Eagle" unlocking a new scene for this "domestic superhero".
In terms of characterization, this series of dramas has really polished many places. What surprises me personally is the regulating function of Tianjin dialect in the play.
Considering the geographical advantages of the story background, director Qian repeatedly borrowed Tianjin accent, a role with a funny atmosphere, to express the comedy characters in the play. In the scene where Yan and He fought bravely and entered the underworld alone, He and Yuan's Tianjin dialect became a seasoning to ease the rhythm of the plot, which not only increased the ups and downs of the struggle between good and evil, but also enhanced the interest of the story.
Although it is a "divine drama", there is actually no amazing idea in the overall structure of the plot. The story closely revolves around Yan's personal action track, refines the character from three aspects: love, friendship and national conditions, and sublimates it to the level of loyalty to the party and the country, thus strengthening Yan's image as a soldier.
If we have to say that the drama is unreasonable, I think it should be a discussion about whether the form of "domestic superhero" is reasonable.
From a negative point of view, the exciting plot and the whole drama framework supported by the fate of dangerous people make the protagonist look thin in the story. Fictional characters and fictional plots, once the balance of this person's heroism is out of balance, will usurp the role of the host in the anti-Japanese war movies, exaggerate the role of a single role, weaken the strength of the army and organizations, and it is difficult for the audience to find a real emotional breakthrough in such plots.
Therefore, the anti-war drama has become a cool movie, lacking educational significance.
Generally speaking, the brushwork of this anti-Japanese war series is a typical drama that tells thrilling suspense stories by deifying the protagonist's aura. The theme is weak and the plot is not contradictory enough. The writer's personal idealism about the "heroes of the Anti-Japanese War" is vulnerable under the shaping of the whole drama, which can neither be deeply rooted in people's hearts nor empathize with them.
However, it is an exaggeration to say that this is the failure of Qian's career as a director, but it is definitely not an excellent anti-Japanese war TV series, and it is also an indisputable fact.