Film evaluation of the results

The most prominent feature of the film is the repetition and mutual echo of the plot similar to the duet, such as a couplet. The motivation of this duet is to find the mysterious character "Li". Coincidentally, the main motive of Jia's "The Good Man in Three Gorges" is also "seeking", which also uses the corresponding Sanming to find a wife and Shen Hong to find a husband. The difference is that the good people in the Three Gorges are looking for concrete and realistic figures, and they finally appear. The result is an abstract freehand concept, which may be an irony of "sublime" or an unattainable ideal. This contrast is also very similar to Hitchcock's films TheWrongMan (1956) and Mr. Klein (1976), directed by Joseph Losey and starring Alan Delong. In both films, the protagonist is unfairly wronged by the behavior of another person who looks like himself (or has the same name). Hitchcock style, we must give a clear solution, the reason is clear; Rossi's method is to reveal the clues left by "Mr. Klein" everywhere, but make the audience never see the mysterious figure itself. "Errenzhuan" consists of two groups of characters: Yu Ran and Ran, while Li is composed of and in series. Huang Guangliang may have been sent by Wang Bo to find Gao Li, who is the ex-boyfriend of Gao Li's current girlfriend Xiao Dan; Yu Ran, from Beijing, is the ex-girlfriend of Colliers and is deeply loved by Huang Guangliang and Wang Bo. In the first group, Huang Guangliang left around the 44th minute, and then Wang Bo appeared. For a 90-minute movie, "duet" is a dividing point.

The corresponding structure and details are as follows: In Tianhu Hotel, Li Duihe played Hitchcock's trick, using the phone as an excuse for the first time and sending air tickets as bait for the second time; Yu Ran had dinner with Huang Guangliang and Wang Bo respectively, and the dish was 60 yuan. When Yu Ran was with Huang and Wang respectively, two people were carrying coils across the screen, and a crazy woman was wandering on the beach. The coconut bought by Huang was thrown into the water, and the coconut in Wang Mai accidentally fell into the water; Huang Wenyu: Will you marry me? Yu asked the king: Will you marry me? Topaz and Jade King went to a desolate church and were invited by the elders. The old man speaks Cantonese, Huang is from Hong Kong, so he can cope, and Wang is from the north, so there is no communication. The shooting angle is also different. The first time the old man appeared on the plane, the second time the old man appeared on the roof, overlooking the angle (the problem of communicationandlanguage deserves attention). Yu and Huang went to Weizhou Island respectively. The smoke I hung on the rock for the first time was lit by Wang for the second time. I silently left Huang, and Wang disappeared on the beach-much like the beach.

Another neat correspondence is that both Yu Ran and Yu Ran are pregnant with Li's child. What kind of result does the result leave? Reading the meaning of the text is the result of irresponsibility (Li) and immaturity (worrying about the immaturity of the uterus at the age of 20); Xiao Dan, a young woman of childbearing age, had a miscarriage, as did Yu Ran and Wang Bo's trip to Vietnam. For an unknown result, I only worry about dyeing myself and waiting at the seaside in fear and trembling. A model plane, flying over surreal time and space. Does the "result" have any significance to the reality of the current chaotic carnival? It is also an intellectual topic worth thinking about.

Zhang Ming used a large section of TV news in the film, involving earthquakes, tsunamis and whether to give birth. When human beings are surrounded by disasters, they will not stop talking about the birth of the next generation. I don't know if it's the printing or the control of photography and lighting. The color of the film is blurred and not thorough enough. It does not express the "excellent visual effect" of Beihai appreciated by Zhang Ming, nor can it be compared with the seaside in Angelopoulos movies. There are also impressive scene scheduling, such as Yu's running on the beach (one night, Yu came out of the tent to go to the convenience, came back, Huang went out, and then entered the painting and said, "You are very interesting"), and the changes in the entrance and exit of the picture formed a right angle with the center as the origin on the rectangular picture, extending to the left side of the picture and the depth of the picture. Although there are flickering details, on the whole, Wushan Yu Yun and Secret Language Seventeen Hours have lost their tension and vitality. Unfortunately, if Zhang Ming still sticks to the European modernist film style (such as antonioni) and doesn't have much personal thoughts and development, he will look a little old in both the East and the West.