Chapter 891
Luo Yuzhong hadn't imagined for many years that he would be directing a movie.
Movie.
At the top of the hierarchy of film and television dramas.
TV dramas are always a step below it.
The same applies to directors.
Luo Yuzhong, one of the so-called "three musketeers" of the Chinese TV drama industry and a top-notch director, has all the advantages from top to bottom, from status to reputation. Yet, he still has to give way to film directors.
Because TV dramas have to give way to movies.
When the film "The Boat" approached him, his first thought was that his students had taken care of him.
Lu Yanhe wanted to use his influence to help him cross over into the film industry and become a film director.
At that moment, Luo Yuzhong had a few moments where, besides feeling a mix of relief and emotion, he was also somewhat annoyed. What? Are movies really that superior? Even you, Lu Yanhe, think that everything I have now is insufficient, and there's still room for you to "help" me further?
Of course, fortunately, Luo Yuzhong is not the kind of person who doesn't know what's good for him. He is a kind person at heart. Otherwise, why would he have given Lu Yanhe a second chance?
After reading the script for "The Boat" and having a special conversation with Lu Yanhe, Luo Yuzhong finally understood how petty his anger in those few moments had been.
Lu Yanhe actually believed that he was the most suitable director to direct the film "The Boat".
Lu Yanhe said that "The Boat" is a film that is stable in terms of form and structure, but has a thunderous impact in its silence. This is precisely the typical style of director Luo Yuzhong.
despite this--
despite this--
As Luo Yuzhong, dressed in a suit and tie, stood at the entrance of the red carpet at the Citour International Film Festival, waiting to enter, he was momentarily distracted by the relatively short red carpet in front of him. In his mind, he thought that he was ultimately benefiting from the influence of his student.
If Lu Yanhe hadn't been the lead actor and producer of this film, would it have been able to enter the main competition section of the Citour International Film Festival so smoothly?
The answer to this question is self-evident.
People ahead have already started calling Lu Yanhe's name.
Someone saw him.
On either side of the red carpet stood photographers and media reporters in suits. But there was also an area reserved for fans and audience members who had come to the event.
The world premiere of "The Boat". Their home turf was rightfully theirs.
Luo Yuzhong used to participate in many international ceremonies, representing Chinese TV dramas.
However, those grand ceremonies, perhaps lacking the historical accumulation of the four major international film festivals, have not formed this kind of tacit and conventional sense of ritual that everyone agrees to follow. Standing here, Luo Yuzhong suddenly felt that it was indeed different.
Many people keep talking about the atmosphere.
If you look at interviews with filmmakers who have participated in international film festivals, you'll find that the most frequent topic is their surprise and love for the atmosphere of the film festival.
Here, everyone talks about movies. There's none of that boring, gossipy prying into private lives like some entertainment reporters do. People sit together and can respectfully and genuinely discuss the meaning of films...
Luo Yuzhong hasn't encountered these things yet, but just standing here, looking around, even as a seasoned and top-tier director, he's still moved by the atmosphere. This was unexpected for Luo Yuzhong. He knew what a sense of ritual was, but knowing it didn't change the fact that his feelings were beyond his control.
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At the premiere of "The Boat", there were more than fifty media and film critics in attendance.
These film critics come from all over the world, from various countries and regions. They were also officially invited by the Situ International Film Festival. However, which film premieres they attend is entirely their own choice and not controlled by the festival organizers.
Especially for the media, although they are more professional and respect the art of film than ordinary media, they also pursue traffic and popularity. At film festivals with such tight schedules, they will inevitably choose competition films with big directors, big stars and higher attention.
Last year, some people said that Lu Yanhe's frequent appearances in commercial films and big productions had caused him to lose his original passion for art films.
As a result, Lu Yanhe returned to the top international film festival this year with "The Boat".
Not only that, there is also a later film, "The Original Father," in which she collaborated with Huang Tianlin.
This made the media and film critics, who had high expectations for Lu Yanhe, very comfortable.
They all firmly believed that Lu Yanhe would never be tempted by the small fees associated with commercial or big-budget films.
Lu Yanhe has produced low-budget art films such as "Three Mountains", "Late Spring" and "Tropical Rainy Season" in the past. Moreover, looking back on his acting career, Lu Yanhe's love for art films has never been interrupted.
Therefore, even if he filmed or announced several blockbusters such as "Hurricane 2", "Godless", "Cloud in the Sky" and "Men in Black" in one go, they do not believe that Lu Yanhe has betrayed art films.
And indeed, that proved to be true.
When Lu Yanhe wants to return to the field of art films, there are always the best projects available.
Unconsciously, everyone's expectations for "The Boat" have been raised to an extremely high level.
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"This movie stars Lu Yanhe and Wen Shengming together again. I'm really looking forward to seeing them act together."
"Yes, I watched 'The Wind Rises' three times. The acting between those two was so brilliant."
"I don't know what this movie will be like."
...
In the audience, a few people were talking quietly.
They weren't professionals; they were just very lucky audience members who managed to snag tickets to the premiere.
Or rather, a seasoned film buff.
This small group consisted of people with blond hair and blue eyes, as well as those with typical Asian features; it was clear they did not come from the same place.
But they seemed very close to each other.
In fact, they are very close, and could even be described as longtime friends.
Of course, they didn't meet that many times.
They were a group of friends who met online, shared a love for Lu Yanhe, and connected as film enthusiasts. Luckily, they managed to snag tickets to the premiere.
Lu Yanhe once directly canceled his fan club in China, and since then, there has been no official "fan club".
Although it stemmed from some specific reasons, Lu Yanhe's fans consciously stopped forming a "group" because of his actions.
Especially those film fans who truly love Lu Yanhe's movies.
It was precisely Lu Yanhe's attitude that made them feel that Lu Yanhe was someone who truly upheld the ethics of a traditional film artist in this era where everything can be idolized and entertained.
Moreover, given Lu Yanhe's usual demeanor in interviews, they firmly believe that if they were to make such a claim, Lu Yanhe would be the first to deny it, and he would certainly clarify without hesitation that he is not an artist.
They had all grown accustomed to Lu Yanhe's attitude of opposing anyone "deifying" or "artifying" him.
But this does not stop them from continuing to deify and artistically portray him.
When the lights in the theater dimmed and the film "The Boat" began to play, their excitement was palpable, as if their heartbeats were about to burst forth.
However, as they watched the movie scene by scene, they all felt a sense of disappointment.
Because after Lu Yanhe appeared in the movie, there were almost no effective shots of him in their minds.
Most of the shots are medium shots.
This is different from the Lu Yanhe they were familiar with in the movies.
Lu Yanhe is an actor who can really handle close-ups; his performances, regardless of subject matter or style, are incredibly rich and nuanced. In past films, almost no director would waste his talent. However, in the film *The Boat*, Lu Yanhe's performance is significantly diminished.
This applies not only to his performances, but also to those of Wen Shengming and Yu Mengling.
The only slightly better scene is the one where Meng Ling appears and sheds tears under the eaves. Otherwise, like Lu Yanhe, he seems to be an accessory in the picture rather than the main character.
If these people had seen a movie called "The Assassin" from a parallel universe, they would be surprised to find that this movie is remarkably similar to that one. Both are films that "ignore" the actors' performances and treat the characters solely as components of the shots and visuals.
The same performance, presented in a long shot, medium shot, or close-up, will have completely different effects on the audience.
Most of the people sitting here watching the movie have seen tens of thousands of films. They wouldn't be so bored by this style that they wouldn't be able to see what's good about the film, but they are all surprised that the film, after using three such outstanding actors, so much weakened their performances.
In fact, the movie itself is good.
Because the plot unfolds quickly, this is a film with a strong narrative. The relationships between the three adults and the child are constantly evolving, and the information points bring many reversals in the viewer's perception. The film's visual language also presents a profound and subtle beauty. Many people—especially film critics who prefer this type of art film—enjoyed it immensely.
This is not the kind of art film with strong realism; this is a true art film that plays with artistic and aesthetic feelings through cinematic language.
Luo Yuzhong didn't make every scene look like it had been artificially enhanced, but the overall style of the film is like walking through an ancient building. Of course, not every place is worth stopping to admire, but every place belongs to the whole and is enveloped in a harmonious, unified atmosphere and aesthetic.
As the relationships between the characters become increasingly tense, Wen Shengming's idea and plan to kill his own grandson become more and more apparent. His selfishness, indifference, and even "inhuman" side are gradually revealed. Finally, close-up shots of Yu Mengling and Lu Yanhe begin to appear in the film.
But such close-up shots are often hidden in corners, behind doors, or in a few moments when someone turns around.
Their micro-expressions are so fast that it's almost impossible to decipher them.
Fleeting.
The audience is left with only an almost instinctive feeling.
Lu Yanhe's old friend—
Tom Wayne, a film critic and columnist for Variety magazine, thought to himself: That's really daring.
It's harder to explain an emotion in just one sentence than in three sentences.
Similarly, what's more difficult than using three seconds to present a close-up shot is one second.
The pace of the film is subtly quickening.
It wasn't even driven by the rhythm of the background music; it relied entirely on the editing of the film footage.
Tom Wayne couldn't help but sigh at that moment.
This is truly a classic example of not being able to have your cake and eat it too.
By sacrificing prominent acting performances, the film achieves a seamless sense of completeness. Even before the ending, Tom Wayne is certain it will be a fully realized film from beginning to end. Every shot is imbued with a profound sense of authenticity and purity.
When Lu Yanhe discovered that the film had indeed removed the scene of "burning the medicine pack" at his suggestion, making the truth of "father's death" in the film even more elusive and without any direct clues pointing to Lu Yanhe as the murderer, Lu Yanhe breathed a sigh of relief.
Thus, regardless of its reputation outside the industry, at least in Lu Yanhe's eyes, it has become a success.
It's the work that least showcases his acting skills, but how should I put it... what Lu Yanhe really wants to say is that he doesn't care.
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As the screening ended, applause erupted even before the lights came on.
No matter how many times Lu Yanhe experiences such moments, he never gets tired or bored of them.
That's impossible.
How could anyone tire of such a dazzling, glorious moment, when one feels from the bottom of their heart that they have created a remarkable work that may stand the test of time?
Lu Yanhe saw that Yu Mengling's eyes were full of glistening tears.
Luo Yuzhong was also clapping enthusiastically—along with those around him.
Everyone around them was looking at them with respect.
Lu Yanhe smiled contentedly.
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Variety magazine was the first to give a media review, from their film critic columnist Tom Wayne: "This highly anticipated film is undoubtedly excellent, worthy of Lu Yanhe's outstanding achievements in film over the past few years. It's fair to say that even within Lu Yanhe's illustrious acting career, it is absolutely a shining jewel—but it must be acknowledged that this is built on the sacrifice of several outstanding actors, including Lu Yanhe. This film completely diminishes the role of actors' performances as a medium in a film. In fact, most people's understanding and perception of film is essentially equivalent to the actors' performances. This film completely immerses the actors in their characters, yet treats the characters merely as characters. Therefore, it becomes the most unconventional yet unique presence among the films in the main competition section of this year's Situ Film Festival."
It's hard to believe that such a film came from the hand of a renowned director who had previously only directed television dramas. Luo Yuzhong, a leading figure in Chinese television drama, also directed Lu Yanhe's debut film, *The Golden Era*. Lu Yanhe has repeatedly stated that Luo Yuzhong guided him onto the path of acting, and his initial understanding of performance entirely stemmed from Luo Yuzhong. However, his directorial debut "betrayed" some of China's most outstanding actors: Lu Yanhe, Wen Shengming, and Yu Mengling. On one hand, you feel regret for wasting such actors; on the other hand, you have to admit that it is precisely this "waste" that shaped the film into what it is today. You will absolutely not remain at any one person's perspective or subjectively interpret the story.
Nevertheless, due to the script's structure, Wen Shengming's portrayal of the father still occupies an undeniable position within the limited screen time. His duality, including the cold-bloodedness and cruelty hidden beneath his loving facade, spreads like smoke, gradually seeping into the pores, even when not directly in the spotlight. His skill goes far beyond what was shown in "Dingfeng No. 1." Unfortunately, Lu Yanhe's character in this production is not prominent enough, even too lukewarm. I think he certainly didn't accept this script because of the role itself. He needs a role with the same weight as in "Dingfeng No. 1" to once again earn applause beyond his already achieved heights—this is unfair to a genius, but there's no way around it; it's the expectation he must shoulder.
Tom Wayne gave the film a high score of 4.5 out of 5.
Shortly afterward, various media outlets also published their own commentaries.
The South Korean media outlet "Film Weekly" criticized director Na Woo-jong for disrespecting Lu Yanhe, portraying him as a third-rate actor in the film "The Boat," with no redeeming qualities. The few highlights of his performance were given to Yu Mengling and Wen Shengming.
Japan's Kinema Junpo magazine also criticized the film for being trapped in the director's extremely self-centered aesthetic, resulting in a mediocre "80-point film" predicament. The film is good in every aspect, but there is no part that is good enough to impress.
At the press conference, the media rushed to bombard the questions, asking Luo Yuzhong why he so much diminished the actors' roles in the film, and Lu Yanhe why he took on the role, and so on.
The overall tone wasn't particularly polite, but the general sentiment towards Lu Yanhe was one of "standing up for him." Everyone knew that the film only gained attention at the Sitour International Film Festival because of Lu Yanhe, yet the film's presentation made him seem the least important.
Lu Yanhe felt helpless.
He couldn't say many things too directly, because the film itself is meant to be subtle. If he explained everything clearly, it would distort the original intention behind how the film was shot.
Lu Yanhe could only say, "I don't think my performance in the movie has been ignored or downplayed. In fact, this is just one aspect of the movie's style. Based on the comments I've heard so far, please allow me to suggest that you watch the movie again. Believe me, it's a movie worth watching repeatedly."
Around the time Lu Yanhe was preparing to depart for Malaysia, Marion Tucci, the chief film critic for the French magazine Cinema, published her review.
"Luckily, through a friend's connection, I got tickets to another screening of 'The Boat,' so I was able to watch the movie again. The character of Lu Yanhe is definitely not as simple as he seems on the surface. The death of the father, played by Wen Shengming, is also worth exploring. Lu Yanhe's mediocrity, silence, and weak presence seem to be just a balancing force in the relationship between the three, which is, to some extent, a smokescreen played by the film."
He is the maintainer of the father-daughter trio structure in the early stages, and also the destroyer of the trio structure in the later stages. The daughter, played by Yu Mengling, is only a weak rebel from beginning to end. Her rebellion is superficial, kneeling and crying, but in reality, it is cowardice and helplessness. The son, played by Lu Yanhe, is the one who is determined to rebel. His indifference and wavering silence are a disguise to lower his father's defenses, and also a protective color to end his father's life with a serious illness without making a sound.
The final scene featuring the coroner is the only loose end left by the director. The focus of that scene isn't on the coroner himself, but on the son and daughter's reactions the moment he appears—only this scene is shown in a wide shot, so I think 99% of viewers missed it. Why did this film have to weaken the actors' performances? In film, illusions are often achieved by constantly switching characters' perspectives and focusing on close-ups, but many people forget that it can also be done by concealing something within a larger context.
Marion Tucci's status in the film criticism world is, to put it another way, similar to Luo Yuzhong's status in the Chinese television drama industry.
Her comments always get noticed immediately and are carefully read.
Her comments immediately sparked a second round of discussions about the film "The Boat" across various media outlets.
(End of this chapter)
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