我对灾难片向来有点兴趣,主要是为了看场面,因为既想拍出视觉效果,又想拍出情节,确实容易顾此失彼。看过的几部罗兰·艾默里奇导演的作品有一个通病,即个人英雄主义色彩太过浓重,基本上人类的灾难永远只是靠几个人搞定的,千篇一律的套路,只是主体依托有所差异。此次的《惊天危机》依然可以跟灾难沾个边儿,不过相对小范围一些,主要集中在白宫,并且跟政治更加靠近。说到政治,就又要提到前面言及的民主,想来没有哪个国家像美国这么开放自由吧,至少表面上如此。就好比《惊天危机》中总统问身边人,我为什么要允许这些人(记者)随意的在我的草坪上搞些乱七八糟的东西(大意),答之,新闻自由。所以自由民主是这部电影的基石。不过话说回来,美国的这种开放度导致的民众或者娱乐产业对政府的自娱与消耗,有时候会让我们忽略其背后的爱国之心。 I have always been a bit interested in disastrous films, mainly to see the scene, because both want to make visual effects, but also want to make the plot, it is easy to care about the other. A few common problems have been seen in the works directed by Roland Emmerich, that is, the individual heroism is too strong in color. Basically, human disasters are always relied on by a few people and the stereotyped routines are only based on differences in subject reliance . The “crisis crisis” can still be a side by side with the disaster, but a relatively small number, mainly concentrated in the White House, and with the political closer. When it comes to politics, we must also mention the democracy mentioned before. No country wants to be as free as the United States, at least ostensibly. Like the President in the “Crisis of Crisis,” who asked people around me, why should I allow these people (journalists) to arbitrarily mess things up on my lawn (freehand)? So freedom and democracy are the cornerstones of this movie. But then again, this kind of openness in the United States has caused the people or the entertainment industry to entertain and consume the government, sometimes letting us ignore the patriotism behind them.