Personal Opinion|”No Name”: A big chess game that relies heavily on formal aesthetics

There are spoilers in the text, please read with caution.

In the dark execution room where the dogs were barking and the blood was all over the floor, Secretary Ye (played by Wang Yibo) of the intelligence agency of the Wang puppet government used a steel cone to ruthlessly stab the throat of a poor man who could not produce any useful information, and sprayed The blood spattered on the face that was fascinated by countless fans, as well as the men’s fashion that filled the whole film.

The next day, Minister Tang (played by Dapeng), the intelligence chief of the Wang puppet government, complained to the Japanese military intelligence commander played by Sen Bozhi in front of the tatami mat in a Japanese house in Shanghai on an isolated island, “The one who was just executed is my man.”

“You plant all kinds of insiders everywhere, how can I tell whether it’s an enemy or a friend here.” Sen Bozhi replied helplessly to Minister Tang.

Indeed, our people are everywhere, and, in the end, it’s a big game—that was my first reaction after watching “No Name”.

As a type of historical suspense film, if it is just like a spy war drama, if it is just like a spy war drama, carefully ambush the pen and tell the story step by step in chronological order, it may not only make the audience lose the fun of being led to decipher, but also bring the actors hidden secrets. Tuck the acting conundrum of unfolding characters.

Therefore, as a writer, screenwriter, director, editor, Cheng Er, who has multiple decisive positions and has the absolute right to speak on his own works, in order to make the plot more ups and downs, he had to do it himself. , The foreshadowing should be buried as deep as possible and as far away as possible. As for the means, we can only rely on the montage of time-space aversion and a large amount of deliberately blank space between scene paragraphs.

Stills of “No Name”

If the overall plot of “Wu Ming” is like playing a big game of chess, then Cheng Er is using the non-linear narrative and blank space expression methods he is very good at to disrupt the game. The characters played by Tony Leung, Zhou Xun, Wang Yibo, and Wang Chuanjun appeared statically in different scenes in different scenes from the beginning, and it was not until the end that they revealed what they were going through one by one. And a series of elaborate aesthetic designs are creating an atmosphere that looks confusing but charming for this big game.

From the beginning to the end, most of them are fixed shots that frame the fate of the characters. The composition of the event characters is not necessarily in the same frame, the contrast between the maroon interior scene and the blue and white cool exterior scene, the aerial view of the bomber and the suffering people. The comparison of angles of view and upward shooting… These should be the lens language agreed by the director and director of photography Cai Tao. It not only continues the hidden aesthetic style of “Romantic Disappearance History”, but also reminds people of the railway bridge scenes in industrial areas in “The Blizzard Is Coming” mirrored by Cai Tao.

However, due to the use of a large amount of narrative space, the overhead shot does not give the God’s perspective that the audience often expects. The Japanese air force bombed Guangzhou. The robust dog “Roosevelt” wearing goggles beside the pilot, and the Chinese pastoral dog limping in the heavy rain on the ruins on the ground formed an interesting and heart-wrenching contrast that emphasized the fate of the “dog life” of the enemy and ourselves, but in addition Apart from that, no results were given for the bombing incident.

Stills of “No Name”

The trial noble “Duke” of the army squad and his comrades leaned down and saw what they saw in the stinking well water. The triangular people were massacred and suffered. They gave up hope and looked up, waiting for the concrete poured down like a torrential rain.

However, how effective are all these seemingly clever shots and blank space design in promoting the plot? “No Name” is far from a traditional brain-burning spy movie. This strong style and aesthetics swarmed up, but it just made the chess game look blurred and covered up the relatively weak plot story.

The one that has the least connection with the development of the overall plot is the role of Ms. Jiang, a special staff member played by Jiang Shuying. There is only a scene of dialogue with Director He played by Tony Leung on both sides of the interrogation table. On the side of the interrogator is a set of skilled intelligence speech skills, while the person being interrogated has a vase appearance that fits the brain of love and its tragic ending. In the whole story, it seems very redundant.

However, the conversation between the two contained key information such as the fact that they had moved their true feelings for Minister Tang, that Sen Bozhi could not save his life, and that Director He had to think again, which seemed to help to reveal the power relationship of the intelligence network characters in a simple and effective manner. Fans of the movie are very strange, and they are more keenly aware that this is a deliberate tribute to “Lust, Caution”, Minister Tang is Mr. Yi, and Miss Jiang is Wang Jiazhi.

The difference is that “Anonymous” targets three female communist characters, and after the blank gunshots, all of them who were about to be publicly executed are let go (the other is Ms. Chen played by Zhou Xun). The reason why Miss Fang, played by Zhang Jingyi, failed to escape and even made the news in newspapers and society was because she was unfortunately lynched by Captain Wang (played by Wang Chuanjun).

As the highlight of the scene, Director He fights Secretary Ye. The action design is not bad, but is the more than ten minutes from the living room to the corridor really necessary for the story itself? After all, this is not an Indonesian customs clearance game-style action film “Raid”. No matter how many close-ups of punches to the bone and blood splattered on the screen, it seems superfluous. But it is also very easy to make things right. This is the power transfer between the old and new two popular handsome stars (Wang Yibo and Tony Leung), it is the establishment and destruction of fashion styles, and it is a traffic code that belongs to off-screen.

Stills of “No Name”

At the end where the personal identity is finally revealed, most of the audience may question, “Is it necessary to make each other disabled?” It is not difficult to find an excuse for the main creator from the plot logic. His immediate boss, the Japanese Mori Hiroichi, convinced him. Not only this highlight, but before the end, no matter what the view of history is, there are other puzzling places. The Japanese army surrendered unconditionally, inside and outside the prison, the hero went out to sneak in, Director He and Secretary Ye almost fought again. This is also the two continuing to play big chess?

Secretary Ye, who was trusted by the leaders to obtain the Japanese Manchurian defense map and made the greatest contribution, why did he stay in the same room with Moribo, and let him refuse Neiji Okamura’s plan to arrange a new job and decide to leave his armor and return to the field? Is it for the final “jumping police” to expose his identity, insult the boss, and make Sen Boyi’s dream of “going back to 1931 is fine” go bankrupt more thoroughly? Or must the special staff of the Communist Party endure humiliation and hide until the next liberation war?

Minister Tang’s surname is Wang for a while and Jiang for a while, which is also puzzling. But it is true that the anti-Japanese war era is destined to be inseparable from such a precarious situation. The chief of Japanese military intelligence also predicted, “Since ancient times, the faction that sits on the wall has not come to a good end.”

In the face of major historical themes, I believe that there are many places where the film crew has to do everything they can, so they really have to embellish and cover up through a strong aesthetic style. If you do this, you can’t be regarded as a fence-sitter, right?