《燃烧的港湾》结尾特有韵味:影片先用近景拍摄英雄主人公驾驶着满载雷管炸药的摩托艇迎着日军的枪林弹雨,向燃烧中的敌潜艇义无返顾地冲去;而在整个潜艇掩蔽网都被爆炸的烈焰吞没之后,当观众和“玛丽大婶”号的船员们都用焦灼沉痛的目光与英雄告别时,摄影机却用全景拍出我们的英雄洪达正安然无恙地向船这边游来。观众痛惜英雄壮烈殉国的心境也顿时被英雄凯旋生还的惊喜振奋所替代。一个值得我们民族骄傲的英雄形象,似更璀灿夺目地矗立在我们面前。我想,这个出人意料的结尾对影视艺术家们最有启示意义的是,在一个允许虚构允许自由想象创造的艺术空间里,艺术家塑造英雄形象,完全不必为某种成规所拘囿。他既可以“浓墨重彩”地抒写英雄之死,来表现英雄的为人民利益而死,“死得重于泰 “Burning Harbor” at the end of the unique charm: the film first shot with a close-range hero hero driving a motorboat loaded with detonators of explosives to meet the Japanese bullets, to the burning enemy submarines rushed back to nothing; and in the entire submarine masking network was exploded After the flames engulfed her, the video camera panicked heroes with panoramic scowling when both the audience and the crew of Aunt Mary were farewell with anxious eyes. Hongda was safely sailing to the ship. The audience deplored the heroic heroic martyred state of mind was immediately replaced by the heroic triumphant surprise excitement. A heroic image worth the pride of our nation seems to stand more brightly and dazzlingly before us. I think the most surprising conclusion for film and television artists at the end of the story is that in an art space that allows fiction to allow free imagination to be created, the artist shapes the hero without alienating some form of convention. He can express his heroic death “heroically for the sake of the people,” "die heavier than Thai