Entertainment Era: My Good Sister Is All Over the World

Chapter 79 A Groundbreaking Film (Third Update, Please Subscribe)

These directors, after all, have seen it all.

They quickly calmed down and realized that the editing might have been done intentionally to gain the upper hand.

One or two directors even felt that such editing was simply sensationalism, and that such tricks would only raise the audience's expectations. Unless the rest of the film is full of climaxes, the audience would definitely curse the director to death.

In the current era, editing technology is not given that much importance.

It wasn't until at least the fifth generation of directors in China that this type of technique gradually began to be valued, and it wasn't until the sixth generation, or even later, that it truly developed into a style.

Their movie-watching habits remain very traditional, a product of the times, which they cannot escape.

However, they soon realized they were wrong, and very wrong.

This movie is truly high-energy from beginning to end.

The train was filled with the smell of boiling oil.

The county magistrate's wife, the county magistrate Ma Bangde, and his advisor Tang were eating, drinking, chatting, and laughing.

The character of Master Tang here was actually played by director Chen Huaikai himself, who went so far as to make himself look somewhat ugly in the makeup.

All three sang a farewell song.

The county magistrate's wife clearly sang the wrong lyrics. After realizing this, the county magistrate, Ma Bangde, immediately changed the lyrics and sang along with his wife.

Master Tang immediately stopped singing, biting his chopsticks and clapping his hands, shouting, "Bravo!"

Ma Bangde smiled, glanced at the clerk, intending to test his attitude: "Clerk Tang, is it the taste or the sound?"

Master Tang immediately replied, "It tastes good, it sounds good, it's all good!"

The county magistrate's wife had a smug look on her face; clearly, Master Tang was one of her people.

She bought the letter of appointment with her own money. In his eyes, Ma Bangde was just an actor she hired, and Master Tang was her accountant.

"I, Ma, have traveled all over the country, relying on my combined literary and martial skills!"

Ge Cunzhuang, who plays Ma Bangde, smiled and then spread his arms wide, intending to make his presence known: "Not only do we want to eat, drink, and have fun, but we also want to enjoy the beauty of nature."

Before he could finish speaking, the scene switched to outside the car.

A gun suddenly appeared and was pointed at the carriage.

The probing continued inside the car. Master Tang tried to flatter the county magistrate twice, but was rejected by the madam with a single word: "fart." Ma Bangde could only awkwardly try to smooth things over.

Their status was immediately apparent.

"Write a poem, write a poem!" Ma Bangde tried his best to save face, pretending to be very carefree, waving his chopsticks and laughing: "There must be wind, there must be meat, there must be hot pot, there must be fog, there must be a beautiful girl, and there must be a donkey."

The three of them burst into laughter.

Gunshots rang out.

In just a few minutes of screen time, the relationships between the characters, and even the hidden ones, were fully revealed.

Moreover, the pace is extremely fast, yet the segments are clearly defined, without any sense of chaos.

The director present was shocked again. This was not Chen Huaikai's style, nor was it the style of assistant director Yu Yang or editor Wang Hua. Could it be that the whole movie was actually led by that kid?

That can't be!

In fact, Huang Wenbin's script set the tone for the entire film's style, and during the editing process, he also refined the first half edited by Director Chen.

In fact, the film has the literary style of Director Chen, but the pacing is that of Huang Wenbin.

However, the pacing of this movie is so outstanding, so excellent, and so stylish that it is even more captivating.

"Yeon-hyun wasn't like this before, was he?"

Upon seeing this, director Ling Zifeng couldn't hold back any longer and turned to Xie Tieli beside her to ask.

Chen Huaikai, whose real name was Zheng Yanxian, took his mother's surname and became known as Huaikai when he participated in student movements in order to avoid being pursued by the Kuomintang.

Chen Huaikai and Xie Tiexing collaborated the most, and the two had a very good personal relationship, so they understood each other's character best.

"Old Chen does like fast-paced films, but not to this extent." Xie Tieli thought for a moment, then said, "The editing of this film doesn't seem like a product of this era; it's more like something from America."

Shuihua, standing nearby, chuckled and retorted, "You mean it has a capitalist style?"

"That's not quite right," Xie Jin from Shanghai Film Studio said calmly. "As long as the film is well-made and the audience enjoys it, technique and style are secondary."

The other directors nodded in agreement.

What followed was another series of climaxes, but from completely different angles and to varying degrees.

After entering the city, the first memorable scene unfolded: the part about the "30/70 split" and "making money while standing up."

Many directors were shocked by what they read; this passage really exposed the true nature of corrupt officials.

This also further enhanced the audience's impression of Zhang Mazi, making him no longer just a simple bandit.

At this point, his identity as a revolutionary has not yet been revealed; the audience is simply presented with the impression that this bandit has principles and backbone.

Movies can't be tense all the time, especially fast-paced ones. They need to include some relaxing segments in the middle so that the climax of the next scene can be more exciting.

Therefore, when the directors saw the martial arts master's line, "This isn't a spanking, it's a slap in the face," they couldn't help but chuckle.

But the next scene is extremely cruel: [Xiao Liuzi commits seppuku to prove his innocence].

Li Xuejian's portrayal of Hu Wan is excellent, both in terms of dialogue and physical performance.

He roared at the top of his lungs, "Aren't you bullying an honest person?!"

The absurdity of the entire scene was pushed to its extreme.

Faced with injustice and unable to prove his innocence, he could only "disembowel himself," but onlookers did not care whether he was wronged or not.

The directors present all came from the Republican era and experienced countless hardships, so they deeply empathize with this kind of scene.

Several directors even recalled their own experiences from previous years and couldn't help but feel sorrowful, sobbing quietly.

From this point on, the drama involving the county magistrate shifted into a confrontation between good and evil.

However, it is still somewhat different from the traditional main story and main confrontation.

Zhang Mazi's battle of wits with Master Huang was equally perilous.

Both sides suffered casualties.

When the scene of "confrontation in the rain" appeared, many directors were once again stunned by what a brilliant design it was.

"What is a surprise? What the hell is a surprise?!" Yang Zaibao's way of expressing himself was a little different from Jiang Wen's. He was more inclined to vent, question, and roar, with an incomparably domineering aura.

In this scene, Zhang Mazi won decisively and thoroughly, leaving Master Huang speechless.

The audience thoroughly enjoyed the spectacle. Old Qin was speechless and even wished he could disappear into the ground.

He and editor Wang Hua joined the studio around the same time. He knew that Wang Hua's slow and unambitious personality made it impossible for him to edit a film like this. At the same time, Director Chen was hospitalized after editing a section. So it is obvious whose credit this film is.

Soon, the films were evenly matched in their back-and-forth competition.

Just as Zhang Mazi publicly beheaded Master Huang's double in the square, Huang Silang uttered his famous line, "Oh no, I've become a double."

"Genius!" Xie Jin was so surprised that he stood up and clapped his hands in approval.

Other directors also had to admit that this scene was truly brilliant.

The real revolutionary struggle certainly wouldn't have developed this way, but in the art of film, this treatment is indeed very clever.

In the end, Zhang Mazi defeated Huang Silang, but left alone.

High up in the distance, a train that seems to transcend time roars past.

The voices of the third brother and Sister Hua rang out.

"Third brother, shall we go to the revolution or to Yan'an?"

"Yan'an is revolution, and revolution is Yan'an."

Zhang Mazi watched the departing train, spurred his horse to follow, and disappeared from sight.

This train scene was suggested and changed by Chen Huaikai. He directly used a train from the 70s and deliberately created a sense of time and space dislocation at the end.

It must be said that during his time with Huang Wenbin, Director Chen also kept up with the times and gained a broader perspective.

The movie ended, and the lights came on.

The entire screening room fell into a subtle silence.

"Well done!"

Two minutes later, Xie Tieli stood up, clapped his hands, and exclaimed, "This is absolutely a groundbreaking masterpiece!"

A round of applause followed.

Finally, the leaders of the Film Bureau and the Publicity Department approached Wang Yang and said with great admiration, "Congratulations on creating a great work that has significance for the new era!"

"This is not my achievement, but the achievement of director Chen Huaikai, screenwriter Huang Wenbin, and all the staff of the crew."

This movie is a sure thing!

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