五十年代的中国,苏联电影,苏联导演爱森斯坦、普多夫金等人的艺术观风行影坛。做为那一代导演中的一员,郝光的影片亦深受苏联电影艺术影响,他的影片讲究蒙太奇结构,但融进了中国传统戏剧的气息。人们曾不无讽讥地评价那代导演的电影结构模式里,“永远有一个好故事。”而作为军事题材影片的导演。郝光的影片里还能看到另一个特征:永远有一个英雄。喜爱英雄,作为军人,这并没有什么可惭愧的。苏联影片把他们的普通士兵拍得极美,如《士兵之歌》、《这里黎明静悄悄》;美国影片甚至把他们的雇佣兵也拍得神采奕奕,如《第一滴血》中的兰博。想把自己的军人塑造得英武些,是无可非议的。歌颂英雄和神化英雄从来不是一个概念。也许,至今世界上还没有不需要英雄的民族。我想。 The fifties of China, the Soviet Union movie, Soviet director Eisenstein, Pudovkin and others art concept popular film. As a member of that generation, Hao Guang’s films are also deeply influenced by the Soviet cinema art. His films focus on the montage structure but blend into the atmosphere of traditional Chinese drama. People have not without irony comment on the movie director model structure film, “always have a good story.” And as the director of military films. Another feature of Hao Guang’s film is that there is always a hero. There is nothing to ashamed to like heroes and soldiers. The Soviet films have taken their ordinary soldiers very beautifully, such as “The Song of Soldiers,” “The Dawn is Quiet here.” American films have even taken their mercenaries to the mighty, such as “The First Blood” Bo. It is beyond reproach that we want to mold our own troops into a formidable force. Singing heroes and deified heroes are never a concept. Perhaps, so far there is no nation that does not need a hero. I think.