(一) 引子究竟如何来评价吴贻弓、吴天明的导演艺术?当我们把这两个导演创作放在一起来研讨,问题似乎就变得尖锐,触动神经,而格外引人注目了。当然,如果我们仍然循着“大路货”的思路说,“两吴”总的趋势是好的,处于开拓状态,或者说,成绩是显著的,这种研讨必然会使影评贬值与研究褪色。我认为,开这样的会议,主要是吴贻弓、吴天明有许多共同点:都是中年导演,都是制片厂厂长,都有成名之作在国内获奖,都有佳作在国际摘冠。但是,这仅仅是两个导演运动态势的一个侧面,尽管这个侧面占着主导的地位。倘若从新时期中国电影发展的意义上去考察,或以纵向的与横向的宏阔的眼光审视,那就不能不提出“两吴”创作发展态势的另一个侧面:即推进的不平衡性及美学开拓方面的迟缓性。 (A) How did the introductory quotations assess the directorial art of Wu Yi-bow and Wu Tian-ming? When we put these two directors together and discussed them, the problem seemed to become acute and the nerves touched our eyes. Of course, if we still follow the thinking of “big road goods”, the general trend of “two wu” is good and open up, or the result is notable. This kind of discussion is bound to make the evaluation of cultural criticism devaluation and research fade. In my opinion, such meetings are mainly held by Wu Yi-kong and Wu Tian-ming. They all have many things in common: they are middle-aged directors and directors of film studios. Both of them have fame in the domestic awards and have excellent works in the world. However, this is only one aspect of the two directors’ movements, although this aspect dominates. If we examine the significance of the development of Chinese film in the new era or examine it in a macro and a horizontal direction, we can not but propose another aspect of the creation and development of “Two Wu”: the promotion of imbalance and the development of aesthetics The slowness of the area.