The city serves as the setting for a number of scenes, and some of the extras are locals with personal experience of the 1976 quake. A bigger payoff for Tangshan is the rise-from-ruins message at the center of the story, though Mr. Feng's style is just subtle enough that the pitch doesn't get in the way of narrative too much. Indeed, it underscores the magic of his movies—the way they resonate with popular culture and hold up a mirror to the aspirations and nostalgia of today's China.
電影中的很多鏡頭在唐山拍攝完成，一些群眾演員也是曾經親身經歷過1976年大地震的人們。這部電影對唐山更大的回報是“唐山是一座浴火重生城市”的這一故事核心，雖然馮小剛的作風讓這一主題恰到利益地嵌入但沒有占太多的故事篇幅，但這也恰恰證明了他電影的神奇之處馮導的電影中風行文化和主流文化的聯(lián)合是神奇驚人的，它也像一面鏡子，反應了當今的中國的情感訴求和回歸。
"Feng is energized by the rise of China," says the Hong Kong festival's Mr. Wong. "Obviously, he is enjoying the direction that the country is going in. He has the luxury of being nostalgic."
“馮小剛的成長是是伴隨中國成長密切相干的，”香港國際電影節(jié)主席Jacob Wong 說，“很明顯的，他對國家發(fā)展的方向充滿樂觀和氣意，他也有著豐富的舊日情懷。”
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