Film Name: 破·地狱 / The Last Dance
The most popular movie at the end of this year is probably “The Last Dance”, a Hong Kong film that has been getting rave reviews ever since it came out, and after all the fermentation and screenings, it’s finally getting an official release on the mainland.
After watching the movie, I have to admit that this is of course a good movie, I had a great time watching it, and the last few episodes also brought tears to my eyes several times, but truthfully speaking, it’s not as good as it’s currently being praised all over the Internet – only that the current era is really in need of an opportunity to give a person a chance to “cry out in pain”, or maybe it’s a good idea to give a person a chance to “cry out in pain”. It’s just that this day and age really needs a chance to “cry out in pain”, or perhaps our cultural environment has been relatively lacking in works that can help people face their pain, and for that reason, “The Last Dance” deserves the courtesy it has received.
“The Last Dance” is certainly good or above level in terms of subject matter, theme, performance, story, etc. There is no doubt about it, and I believe that you can see the more specific introduction and analysis elsewhere, so I’ll just talk about a few places where I have deeper feelings.
The movie is slightly split between the first part of the process and the second part of the end, the first part is mainly about the new funeral agent Dawson, in this particular job in the trials and tribulations and growth, although there are enough laughs and tears, but they are more bland, fragmented, the latter part of the family, the plight of the women of the main line of not much, but fortunately the film is full of life, it is not too difficult to watch.
The transformation of the relationship between Dawson and Mann is also a bit too hard and hasty, as Dawson quickly evolves from a small businessman who is interested in making money to a broker who understands human feelings, and Mann, who is caught up in his “master’s teachings”, accepts Dawson’s words and actions, which are a bit too silky smooth.
Including the best line of the whole movie, “Living people need to break through hell, living people also have many hells”, words are certainly true, but it is hard to imagine that as a lifelong mumble master, Brother Man would not understand this truth.
However, these complaints are only about the imperfect narrative process of “The Last Dance”, the story itself is correct in its positioning and outcome, and the above line can be used as the core outline of the whole movie.
The tone of the film is mournful and bitter, and it makes it clear that after the epidemic, many people’s lives were hit hard – no matter what kind of attitude or opinion we have about the years of the epidemic, we have to admit that we lost a lot, some of us lost our loved ones, some of us lost our jobs, and some of us had trouble maintaining a normal life. Some lost their loved ones, some lost their jobs, and some couldn’t even maintain a normal life.
In the business of “Breaking Hell”, not only do we have to take care of the dead, but we also have to comfort the living, and the main point of the movie is that Dawson, a newcomer to the business, continues to use his unconventional behavior to provide a little more comfort to the relatives of the dead.
In fact, Dawson is a very pessimistic and negative person, not wanting to get married, not wanting to have children, and struggling to cope with the world, just like those around us who seem to be very normal, but lack of motivation to live a positive life, and with the fluctuation of the economic environment and social trends in recent years, it is clear that there are more such people.
The Last Dance” does a good job of guiding the dead and the living, breaking the ice for regretful fathers and daughters, and opening up the minds of many women like Wen Yue, but I think the reason why the movie has garnered so much box-office (and already broken Hong Kong’s record) and critical acclaim is that it invariably catches the need for an emotional imperative of our time: the need to cry out in pain.
In our cultural language, we don’t advocate purely emotional crying, not to mention promoting it, and “The Last Dance”, because of the specificity of its subject matter, compels the audience to face up to the separation of life and death, as well as the obsessions and regrets associated with it, coupled with the fact that the generational and family problems between father and daughter, father and son, and brother and sister in the movie are indeed universal, and therefore, the heart of all of us is more or less filled with the same feelings of pain. Therefore, there is an outlet for everyone to channel and vent their frustrations, which are more or less present in everyone’s heart.
The environment nurtures “The Last Dance”, and the environment also accomplishes “The Last Dance”.
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