No thieves in the world: what do we need most in contemporary China?

In the world without thieves, Ge You said, "What is the most precious thing in the 21st century? (Answer) talents .」 I think how to interpret this sentence will become the core of how the film is interpreted.

* National requirements *
Feng Xiaogang's work has always been a guarantee for the box office, and the film content and themes reflect the contemporary Chinese social urban phenomenon and the spirit of the people, for example, when I used to reveal my bad feelings of going abroad and discussing communication between people, I sighed with a sigh, and I used my mobile phone last year to show details about Chinese-style urban marriage. all of them demonstrate the intention of a new batch of Chinese directors in 1980s to get rid of the creative shackles of the fifth-generation directors who have already been well-known internationally, and to unload the burden of reflecting on the traditional Chinese culture and value and the extreme aesthetic of the modern form, starting from the city, facing the major premise of reform and opening up, let's look at the current problems of China's society after the rapid urbanization. Therefore, Feng Xiaogang, Zhang Yuan, Ning Hao, and Jia Zhangke's works have won the appreciation of the Chinese new generation of intellectuals. Of course, it also involves national conditions and the spirit of the people.

In a contemporary Chinese society that has been banned from review of information dissemination, but is still far from being open to the public in the 60 or 70 s, the effects of urbanization seen every day are undoubtedly the concern of the new generation of China's growth in the 1980s S, therefore, the combination of the open network freedom and original information transmission modes of the People's Republic of China makes the reflection on the value of traditional culture greatly lag behind the discussion of various problems related to immediate life. Zhang Yimou and Chen Kaige's turn in film creation is also reflecting the trend of film in this city. At the same time, the rapid rise of national self-esteem in the context of China's increasing national strength has also led to the turning of traditional Chineseness into a thief selling national cultural relics. At this time, Feng Xiaogang's series of city movies began to emerge. Therefore, Feng Xiaogang's film belongs to urban people and reflects the topic of Contemporary Chinese urban people.

* Editing and inheritance *
"No thief in the world" is completely an irony, while Feng Xiaogang's irony in the film has reached a very high level, and everything is born and destroyed by irony. There is no thief in the world in the Central Plains, that is to say, there are thieves everywhere in the world. In the 21st century, the most important thing is talent. The reality of capitalism is the opposite. What is important is the system, organization, and editing. However, the talent theory proposed here is a question worth pondering. What kind of talents do we need? What are their outlook on life and moral outlook? Should they be those who believe in profit-making under capitalism and worship of gold? Or is it the rubyist who walks with the Communist flag?

At the same time, the film also tells us an extremely important premise, that is, we need talents. In the final analysis, it is for the next generation. Whether it's self-Selfish people who have taken on the capitalist market economy, or who carry the burden of maintaining a unified idea with a red flag everywhere, whether everything is done out of the true concern for the next generation has become the focus of Feng Xiaogang's discussion. Uncle Li (GE youornaments) is responsible for the inheritance and development of the thief group. Whether the next generation can maintain the strength and development of the group has become his biggest concern. Wang Bo (Liu Dehua ornaments) and Wang Li (Liu ruoying ornaments) are the next generation of thieves who are most concerned with their in-laws. In order to enable the healthy growth of future children, although they have not talked about how to change the "World is a thief" environment in the film, or show helplessness and embarrassment, the changes made by the two people imply that they are the Chinese who think about the next generation of China, what to do and how to do it.

* Scholars and thieves *
Uncle Li and Wang Bo represent two very different people. The former is the group/group leader who strives for development, and the latter is the thief of the world. Uncle Li wants to compile his undisciplined generation because he appreciates the extraordinary skill of the other party. His purpose is nothing more than to carry forward the thief group, so as to gain a deeper influence on profit. Unfortunately, he met Wang Bo, who was unruly and only in love with freedom. Although everyone is a profit-oriented person, he is also greedy in the face of money, however, Uncle Li's so-called collective spirit could not cut down Wang Bo, who loves freedom, into a state-owned State. As a result, the gap arises, and the fundamental ideological differences cannot be solved, finally, it is inevitable to resort to the use of force to completely solve the problem. Or, the path that will eventually be taken is the result of a life-and-death. However, who died or who was born also reflected Feng Xiaogang's domestic director's interpretation of Contemporary Chinese society. Uncle Li was born and constrained. Wang Bo died and said that what the next generation of China needs is not a society that only has a system but has a utilitarian supremacy, it is not a society that only focuses on talents but does not have morality. Uncle Li was eventually put in jail, revealing that what the next generation in China needs most is not a talented but selfish talent, but a person with moral and righteous values, that is, talents with Confucian moral values. Wang Bo, who thinks for his next generation, is such a kind of talent. He is limited by the system and unwilling to surrender to the rule of the group. Although miserable, he has suddenly seen China's bright road ahead, it also puts forward a new understanding of the current Chinese society, a thought that conforms to China's contemporary compromise socialism-the integration of Confucianism and the modern rule of law. What Wang Bo embodies is the Chivalrous Spirit and compassion of Traditional Chinese Confucianism.

Because of the talents we have, we have a society where the system can only suppress the hearts of the people, but cannot win. Therefore, Confucianism focuses on talents rather than systems. "No thieves in the world" can be said to be the first film by Feng Xiaogang to explore the national development path from a city issue so far. It is also a piece worth pondering by audiences on both sides of the two sides.