Zhong Yuemin photographer

The Stubborn Master was published in the sixth issue of Harvest 1987, and was later adapted into a film of the same name, which is the representative work of Wang Shuo's series of "Stubborn Masters". The work fictionalizes a "three-T" company that "helps people solve problems, relieve boredom and suffer for others", and makes a mockery of life's capabilities. A few young people, led by Guan Yu, planned and held an award party for Bao Kang, who was scolded for failing to keep an appointment on time and chatting with his wife for failing to meet her various requirements. The works portray three main characters, Guan Yu, Yang Zhong and Ma Qing, as well as various characters such as Bao Kang, Liu Meiping and Wang Mingshui who have various business relations with them. By describing characters and telling stories, they reflect some special phenomena of this society, expose some disadvantages of society and ridicule some phenomena in society.

In the 1980s, with the reform of rural system and urban system, civil society really accepted the modern personality norms that some elite intellectuals wanted to popularize, which gave birth to a considerable degree of modern civic awareness. Wang Shuo's defiant leadership came into being under such circumstances. Most of the characters in Wang Shuo's novels have their own shadows, and they all have the characteristics of "ruffians" to some extent, just like some young people in the "yard" who lack parental discipline and wander around the city. The author himself named them "stubborn lords" and "shameless idlers" Their most striking feature is "freedom", and they consciously provoke established principles with "anomie" behavior. Wang Shuo's series of "stubborn" novels are like a blockbuster, which has blown up China's traditional outlook on life and values. The shooting and release date of the film is 1989. Because I don't have too many physical memories of that era when I was young, I can only piece together all the sentient beings in the society when our parents were in their prime. The 1980s was undoubtedly the best time.

"Five stresses and four beauties" are deeply rooted in people's hearts. People's thoughts are simple and there are no distractions. Everyone loves public servants. The order in the street is entirely due to the strong organizational discipline of everyone. Everyone's enthusiasm for productive labor is particularly high, shouting slogans, meticulously fulfilling their work indicators, striving to be a model worker, and working with strong principles. Taking the small back door became a big deal. For example, in the movie, Liu Meiping met an acquaintance who was a shop assistant who bought a handkerchief. The highest treatment is "Hey, do you buy a handkerchief?"

A group of young people with different backgrounds: Guan Yu and Yang Zhonghe Ma Qing. Let's just call them "lost youths" according to teacher Zhao in the film. They have nothing to do but play small cards. Kan Kan and Dashan have a good time. I once heard Zhong Yuemin mention "stubborn Lord" in legend of mir, but now I finally understand these two words further. On the surface, he seems to be wasting his time without making progress, but deep down, he is pure, cheerful, enthusiastic and kind. What 3T company was established for the purpose of "solving problems for others, taking pleasure in helping others and suffering for others"?

We are all used to pretending to be sacred. When a moral education professor at a university was passionate about these three so-called "insensitive" buddies, he said, "Why don't you suffer? You should suffer! " The three brothers casually retorted, "I want to tell you that we are not in pain!" " "What is the right way? What is right? What's the matter? We have been educated for many years, well, "dress formally and speak politely, and you'd better bring a pair of glasses by the way." "Compared with modern people, the three young people can be said to be pure, kind, enthusiastic and optimistic, and have never been depressed or absent from modern people. What is even more admirable is that their youthful, cheerful and confident spirit can hardly be found in modern times, especially the mental state that a large number of young people such as "house slaves" dare not expect. Compared with the 1980s, I think the vast majority of young people nowadays are just like faded.

The moral education teacher in the film, who created the image of "Gao Daquan" in the lecture of "Five Lectures and Four Beauties", completely showed the image of hypocrisy, malice, lewdness and duplicity. The image of "Gao Daquan" often seen in this society is ugly in front of three gangsters! At that time, people in China were already quite disgusted with "Gao Daquan". Who doesn't know that "Gao Daquan" is often a "fake sky"?

The 1980s was really the golden age of China's mental outlook, because at that time, China had just stepped out of a truly absurd era, and no increasingly negative political forces had been formed to curb China people's thoughts, just as after the collapse of the Qing Dynasty, warlords scuffled, the Kuomintang regime had not unified the whole country, and there was no ideological "white terror".

It's hard to believe that this movie 1988 threw away all the false blanks and made a real mockery. After teasing, people have mixed feelings. My sadness comes from the sense of loss brought by the casual attitude of the protagonists, and also from Guan's sentence: "I am just a little vulgar." It comes from the sunset, from the sudden and serious dribs and drabs in the movie.

And Ma Xiaoqing, she is really cute in this movie. No, she is so cute that I have fallen in love with her! There is also Wang Di's song "I am a Stubborn Man" and "I want to marry a wife at the age of 27 or 28", but "I learned later that love is a lot of troubles". That was the first time I listened to "Boring Army". Actually, it's the original singer in this film. This song is simply icing on the cake, giving the film more rock and roll temperament. There is also a summary of the emergence of that new thing in the 1980 s, which is simply a must-see for those who like nostalgia. Finally, compared with Wang Shuo's original work, the film is obviously much heavier. The bizarre fashion show alone enhances the overall artistic conception of the film.

The Man Who Stole a Bicycle, the pioneering work of Italian neo-realism, was produced by director Vitotio De Sica 1947, and China was dubbed and reproduced by Shanghai Film Studio 1954. The title of this film was labeled as "progressive film", saying what it was accused of. The film also opened the first time in film history that all non-professional actors were used. Won the 22nd Oscar for Best Foreign Language Film and Golden Globe Award.

The reason why this old movie is used for entertainment is that bicycles (hereinafter sometimes referred to as "cars") are still the fundamental means of transportation for the broadest masses of people in China today, and bicycles are inextricably linked with our joys and sorrows: Look, how familiar we are with the images gathered in The Bicycle Thief.

Italy's economy was depressed after the war, and there were a large number of unemployed poor people in Rome. Antonio, who is five feet tall, finally found a job advertising along the street through an employment agency. This job requires a bicycle, which has been sent to the pawnshop. After his wife pawned many sheets and other things, we saw Antonio walk into the advertising company with his newly redeemed bicycle on his shoulder. Street view flows, Antonio's road is connected with the future again, but less than 1 hour after the work started, a thief stole his car.

"A poor man had his car stolen, so he had to look everywhere." Antonio said this and immediately took practical action. A car equals work. Work equals life. So cars are life.

As Antonio was looking for a car, we saw vendors interacting with various bicycle accessories in the second-hand car market, cyclists in the shower, and "Christians" who went to mass for the bowl of free vegetable soup in the church ... all of them were poor and interesting things, all related to our distant and warm memories, or close to the reality we were experiencing, but through the image, Antonio also caught the thief who stole his car, but without evidence, he turned his face. The climax of the film has arrived. A big bike is parked there (as if we had met outside the gate of the old state-owned enterprise). A bike is parked under the wall. Antonio lingered anxiously and sat on the side of the road in despair. Bicycle wheels flew over his face, and shiny stripes stung his eyes. The crowd poured out of nowhere and rushed to the parking lot. They all wheeled their cars and left briskly. Antonio is sitting alone!

The bicycle by the wall was still safely parked there, and Antonio went over and pushed it and left. Antonio rode his bike at high speed, but he was caught up. Poor Antonio also became a thief. Seeing this, my brother's heart tightened. A dignified man stole a bicycle, which is a worrying process, especially when he was caught red-handed in front of his 8-year-old son!

From beginning to end, Antonio's son followed him to find the car, and his son remembered a sign on the bumper. The son listened to his father's words and went home by car first. Suddenly, he found a group of people escorting his father somewhere. He cried, "Dad! Dad! " He picked up his father's hat from the ground and patted the soil trampled by the gang.

When Antonio lost his bike, his brother heard Hong Da's sad soundtrack. When Antonio also decided to steal the car, we heard Hong Da's nervous soundtrack, just like the music played in our ears when a hero was about to complete his feat in other movies.

New realism is not a fashion. At first, because there was no money to rent a studio, the directors had to shoot in the street with cameras. It is also because of the lack of money that I thought of using a large number of non-professional actors. The story of the bicycle thief comes from the most real life, and the audience can still find the prototype of their father in their own lives. There are many poor people in any era, and many people force good people into prostitutes and good people into thieves. When we are used to the main theme, laid-off, unemployment and public security disorder have become common phenomena in our society. Sometimes I ask myself, if I am hungry for three days, can I still maintain my basic dignity? I'm afraid not. Then it was an inevitable accident that my father changed from a victim to a car thief. At that moment, I felt his pain and his struggle. Director vittorio recorded it with the lens, which became the most touching scene in film history.

The Bicycle Stealer is a classic mentioned in almost every movie history book, and it is an old Italian movie from 65438 to 0948. After World War II, Rome, an urban poor, Ricky finally found a job posting posters. Prerequisites for work: Bicycle, bought with all my money, was stolen on the first day of work. Ricky and his six or seven-year-old son searched all over the city. Finally, in the frenzy, he stole another car and ran away, but he was caught red-handed and beaten. His son grabbed his father's clothes and cried. The owner decided not to pursue it. Desperate Ricky took his son's hand and slowly disappeared into the sea of people. This is the masterpiece of Italian neo-realism movies, and it is also the work that pushes Italian director Desika to the peak. In today's post-modernism, avant-garde, existentialism and so on, I don't think neo-realism is a fashion. After World War II, the Italian economy fell into a predicament of near paralysis. At first, because there was no money to rent a studio, the directors had to shoot in the street with cameras. It is also because of the lack of money that I thought of using a large number of non-professional actors. The story of the bicycle thief comes from the most real life, and the audience can still find the prototype of their father in their own lives. There are many poor people in any era, and many people force good people into prostitutes and good people into thieves. Sometimes I often ask myself, if I am thrown into Ricky's panic and confusion, can I still maintain my basic dignity? I'm afraid not. Then it was an inevitable accident that my father changed from a victim to a car thief. At that moment, I felt his pain and his struggle. Director Desika recorded it with a lens and became the most touching scene in the history of movies.