Film Review of "Something to Say"

Film Review of Speak Out (5 selected articles)

Words are like elves. As long as you make good use of them, they will have unexpected effects. Therefore, whether speaking or writing, we should make good use of words. As long as you can use it accurately and flexibly, it will make your language glow with vitality and brilliance. Next, I want to share with you the film review "Something to Say", hoping to help you!

Zhang Yimou, who is internationally renowned for shooting local films, unexpectedly released this urban comedy in 1997. Compared with the praise and popularity of Zhang Dao's films before and after, we have to admit that this film has been left out in the cold. It comes from two aspects: as far as the audience is concerned, it is probably just an ordinary funny film composed of jokes and gimmicks; As far as film critics are concerned, they are probably aware of the Excellence of this film, but there are some incomprehensible puzzles when explaining its meaning in detail. In this way, in Zhang Yimou's many works, "have something to say" seems to have fallen into the public blind spot.

In fact, the title of the film has shown us that the root of many dramatic conflicts in the film is "the failure of dialogue." Almost every story is based on the "failure of dialogue", and the characters in the film are trying their best to save themselves when they realize this failure. Therefore, in the case that everyone is trying to reverse the failure, the story presents a "out of control" situation like a car brake failure, running in an unexpected direction for any character in the film. After the plan fell through and serious efforts were wasted, they had to bear the absurd ending that followed. It is the absurdity of the basic situation of the characters in the film that arouses a great sense of humor and creates the "laughter" of the film. This unique way of comedy creation is quite ingenious, which is largely attributed to Shu Ping's excellent screenwriter. At the same time, all absurdities are created with realistic materials in a completely realistic environment, and this kind of creative wit is more and more valuable.

By dissecting an example, it may be easier to see this special mechanism of creating comedy effects. Take the first few plays of the film for example. From the beginning, we saw Zhao Xiaoshuai (Jiang Wen)' s tenacious struggle and An Hong's intransigence. The theory of two people on the bus taught us that we can't talk about who is right or wrong. So one hides, and the other goes after him. In order to get rid of entanglement, Anhong just won't tell her new address. Xiaoshuai roughly found out the place and began to display propaganda tactics. After being called for two days, An Hong wanted to end up in an extreme way of falling in love. Just as their kindness was about to be realized, a new round of love poems came downstairs. Seeing this, the tense atmosphere suddenly dispersed, and the audience couldn't hold back their joy. This unplanned situation is out of control and repeated over and over again. Next, An Hong sent her new boyfriend Liu Delong to talk to Zhao Xiaoshuai, which turned into street fighting. An Hong feels guilty about this unexpected result, and finds Zhao Xiaoshuai's excellent side in the following communication, while Zhao Xiaoshuai is entangled by the computer owner Zhang Qiusheng (Li Baotian), and Liu Delong almost loses a hand for it. First, pull out a contradiction that cannot be properly solved to pave the way, and then both sides of the contradiction will painstakingly seek a way out. As a result, they failed to push the plot to a ridiculous situation under the control of reason. This is one of the "secret recipes" of the film.

Another secret recipe is very traditional, but it is also used in movies, and that is the "alienation effect". In order to illustrate the application of alienation effect in this film, let's talk about the outstanding style of director Wong Kar-wai. In Wong Kar-wai's urban movies, there are always a lot of soundtracks interspersed among them. In this regard, Zhang Yimou once said with great appreciation that when a melody rings somewhere in Wang's films, it will immediately arouse some emotions of the audience and create a full atmosphere. It can be said that in order to convey the unique emotional experience of the characters in the film to the audience, the soundtrack played a very good role in Wong Kar-wai. In "Let's Speak", the function played by the soundtrack can be said to be the opposite in many cases-creating alienation effect, repeatedly pulling the audience out of the immersion of the story, reminding the audience to keep critical observation of the characters in the film at all times, so as to better witness the formation, accumulation and outbreak of absurdity and let the audience laugh when their emotions are relatively detached from the story process.

In the scene where Zhao Xiaoshuai first went to a nightclub to catch up with Liu Delong, Xiao Shuai disappeared and rushed into the practice room and gym with a kitchen knife. Roaring music poured out of every room, so we heard many popular songs (all about love and affection) strung together, accompanied by the screams of the ladies and Zhao Xiaoshuai's kicking at the door. Zhao Xiaoshuai rushed in and out of the screen quite violently, a kind of. This passage clearly shows the intention of this film: while giving a comedy story, taking simplicity and folk customs as a reference, exposing the flashy elements in the current urban life, and completing the cultural criticism of urban life in the form of comedy. In the film, two whitewashed old ladies groaned and sang "Eighteen-year-old Brother", while Zhao Xiaoshuai and Northeast elder sister, who were about to commit crimes, sang "Eighteen Girls and Eleven Flowers", all of which reflected the director's intention in this respect.

The second half of the film ushered in the final drama. All the minor problems were summarized in Jubilance Restaurant. Zhang Qiusheng and Zhao Xiaoshuai made an appointment with Liu Delong to discuss with each other, intending to settle all the disputes that occurred before peacefully. At the dinner table, Zhang Qiusheng found that Xiaoshuai didn't change his original intention, and still planned to "win it with one knife". After Zhang Xinhan, he earnestly advised him. In this tens of minutes-long drama, the characters hardly do any activities, just sit at the dining table, drink and eat vegetables, and rely on excellent large-scale dialogue to push the plot to a blazing climax. This whole set of large-scale dialogues let us see that "having something to say well" can only be an ideal state, because personal cultivation, identity and position are different; As a complex social communication activity, dialogue is not as simple as Zhang Qiusheng, a loyal intellectual, imagined. "Being rational and traveling all over the world" is just the wishful thinking of those who think they are rational.

In addition to the guest appearances of Ge You, Zhao Benshan and Li Qi, as well as the appearance of Zhang Yimou himself, there are unambiguous photography (effectively expressing the impetuous and turbulent mentality of the characters), makeup modeling of the characters (dressing up after Xiao Shuai's injury, Zhang Qiusheng's madness is amazing), deep and hearty soundtrack (of course, not referring to the paragraphs used to create gaps), and several books of Beijing and Qin (which not only suggest that it is an excellent idea in itself), and the above.

Finally, when Zhao Xiaoshuai's plan of a knife fell through, let's review the lines of the police comrades in the film, correct our mentality and cheer up the polite style of "having something to say". "No matter what happens in the future, we have to rely on organizations and laws. We have something to say and can't talk nonsense. " "The state can negotiate, but the people can't?"

The film review 2 of "There is something to say" feels that this film is about two paranoid stories. Paranoia is to do something once you are sure. No one will persuade you or listen to you, including himself. He was driven by inner fanaticism. Every son knows that if he doesn't do this, he will feel uncomfortable. He understands the consequences, but he wants to strike first.

Is paranoia born? The example of Zhang Qiusheng tells us that a middle-aged intellectual who has traveled all over the world and talked for most of his life is really more motivated if he is stimulated and possessed. That's not much better than an uneducated urban youth. Zhang Qiusheng, the last man, was really great. He really did it. How do you think a person can be so stimulated and become a completely different person from the rest of his life? Isn't this a great injury to self-esteem and a great insult to spirit? At this point, I figured it out. With this daily push, Zhao Xiaoshuai is not born so distorted, nor is he born paranoid. Of course, his self-esteem was greatly hurt and his spirit was greatly insulted. I think Zhang Dao also reflects the reality that young people in cities are insulted and have no self-esteem, doesn't he?

People like Zhao Xiaoshuai are very common in cities: they don't read any books and have no culture. They stall for two meals, chase a girl to sweep the floor, and casually recruit anyone with face to beat them up in the street. This long-term injury and insult has shaped Zhao Xiaoshuai into such an extremely paranoid person: chasing girls, taking care of nothing, following behind all day, yelling at the bottom of the horn, and splashing water in the face, and not caring. In short, the more Angong embarrassed him, the more he worked hard. As a result, Liu Delong found someone to trip him up. After all, Anhong didn't know if he was moved. Anyway, after breaking up with Liu Delong, Zhao Xiaoshuai became a little interesting again. Supposedly, Zhao Xiaoshuai should be able to win as long as he takes out half of his energy and starts chasing Ahong at this time, but he is serious. It is strange to see someone here. This paranoid won't stop until he gets what he wants, will he? Why, why did he give up halfway?

As I said just now, I think this paranoia has something to do with hurting self-esteem. Zhao Xiaoshuai pursued Angong, how much because Angong ruthlessly rejected him, and everyone around him gave him a dirty look, and Liu Delong gave him a fist. In short, the more you hurt him, the more he wants to catch up with Anhong. Later, An Hong softened his attitude towards him, and he felt that the matter could come to an end and the lost face was earned back. However, Liu Delong beat him, and his self-esteem was greatly affected. Beaten by a group of street watchers. No wonder at that time, no matter what he was holding, he smashed it hard and swore to chop Liu Delong's hand. So this chop became a knot to save his face, which he always felt insulted by Liu Delong. Didn't you chop it up in the end? Isn't it just like chasing an hong? I think it's because Liu Delong was hit by a stereo like that.

Some people say that this handsome brother is confident and self-reliant, and his self-esteem can't be so fragile-how strong can he be with such a thick face and such a shame? I said it was superficial, but in fact he felt looked down upon for a long time. Listen to what he said to Zhang Qiusheng again, "When did people like you treat me like a human being?"

Of course, there are not many urban youths with low status who go to sea, but they can wriggle around like handsome guys. Most of them have become the glib cynicism in Wang Shuo's novels. What should people do when they reach middle age? Most of them are tired, a few are poor, and some have become intellectual hooligans. In fact, this is just a different means of survival or adaptation adopted by small individuals under the pressure of urban society. In fact, Zhang Qiusheng just stared at the selfish bystanders in the street, but he couldn't tear off the face of the intellectuals. He had to be meaningful to cover up his shame. Zhiguo in I Love My Family is such a typical example. Director Zhang's film shows that you can still chop off your hand if you push him hard.

This review begins with paranoia and ends with the oppression of people in urban society. There is also a movie that begins with paranoia, called "Seventeen-year-old Bicycle". In the film, two teenagers are paranoid, and they are desperate to get the car. In fact, that movie didn't end in paranoia, but ended in the disillusionment of youth dreams. That movie is actually about adolescent dreams, which are divided into material and spiritual aspects. In the film, the material symbol is a bicycle, and the spiritual representative is love (the love object of a city child is his classmate, and the love object of a rural child is the nanny in the opposite building). Finally, all these dreams were shattered and ended. I noticed that both children were forced to defend their dreams. The city boy grabbed a brick from his girlfriend's blonde boy, and the country boy finally picked it up and gave it to the gangsters who kept smashing his car. It's not hard to imagine that it's redundant to make a sequel to "Seventeen-year-old Bicycle"-isn't "Something to Say" ready-made here? And spirit (pick up girls), material (laptop), black people. From the point of view I just figured out, the two can also be linked: I was oppressed in adolescence and had dreams, but as an adult, I was left with the dream of oppression, which had long since disappeared. Do you think the characters in "Something to Say" have any pursuit? In the end, even weapons are passed down from generation to generation: in adolescence, when you reach adulthood, you will use a kitchen knife. No wonder Zhang Qiusheng advised Zhao Xiaoshuai to change bricks instead of kitchen knives-it's no use playing with his adolescence. How can people go back more and more? !

The film review 3 of You Hua Yan says You Hua Yan is an underrated work. Is there any evidence?

To answer this question, I want to take a few questions as answers.

First, during the period of 1997, can the audience see such a unique domestic image in the cinema?

Second, to say the least, 20 12, can the audience see such a unique domestic image in the cinema?

Third, pick any domestic movie that was shown in the cinema on 1997 or 20 12. Which one grasps the pulse of the times and society more accurately than "talking"?

If the answers to all three questions are obviously "no", then this work is indeed an undervalued work. We may say that the mainstream movies in 20 12 years are not necessarily much better than the works before 15 years.

It is said that it is a pure black humorous film, and its essence is the inherent absurdity of the story described in the film. I have recommended it to several friends, and they all got very high praise. They all agree that this movie is funny-maybe 15 years later, today's audience can better appreciate the taste.

The absurdity of "have something to say" is reflected in the film structure, which has three levels. The first level is to make Xiao Zhao make up his mind to chop off Liu Delong's hand. This is the source of humor in the first two-thirds of the film. It's ridiculous because there is no rationality at all. Xiao Zhao is so persistent and "firm" that he can make everyone laugh. The most interesting thing is that Lao Zhang worked hard to get a dinner, and finally invited two immortals, hoping for a peaceful solution. So Xiao Zhao enthusiastically took out a kitchen knife from his bag. Lao Zhang successfully persuaded Xiao Zhao to take back the kitchen knife and picked up the plank brick to educate Xiao Zhao. "This (brick) was detained 10 days, and this (kitchen knife) was imprisoned for 5 years. We must outsmart them. " This package designed by Ping Shu is very clever. Lao Zhang thought the persuasion was successful. As a result, the package shook, and Xiao Zhao stammered, "It really worked after listening to you. I can especially understand what you said. After a while, I'll swing it with a brick, then take advantage of it and take it with a knife. "

The second layer of absurdity is reflected in the result of the hacking incident. Lao Zhang pretended to be crazy, but Xiao Zhao played along and led the incident to a more complicated situation. First, an old lady who danced yangko, and then an elder sister who celebrated her birthday. The whole post-modern carnival. However, Xiao Zhao had no conscience to put down the butcher knife and failed to chop it into a hand. Liu Delong was indirectly hurt by Lao Zhang. Lao Zhang's kindness, like a TV set on Liu De's faucet, made Xiao Zhao look dazed. Xiao Zhao planned the hand-cutting action for so long, and the result became this result, which was absurd and reasonable, and completely opened the audience's mouth.

The last level of absurdity is that the film finally dispels the existing identities and value positions of the two protagonists and realizes the identity exchange of 180 degrees, which can be described as a stroke of genius. The film's title "Talk It Over" accuses people of communication problems, which brings Xiao Zhao and Lao Zhang into contact with two completely different people. But this connection works in a very strange way-at the end of the film, Lao Zhang becomes an evil man and kills the fat cook with a kitchen knife; On the other hand, Xiao Zhao really seems to be the nephew of "crazy uncle". At this point, the characters are in a state of chaos, good and evil are indistinguishable, true and false are indistinguishable, and the boundary between normal and crazy is blurred-the film directly enters a metaphysical open area.

Aside from the valuable innovation of the film in audio-visual aspects, it provides the audience with a highly designed sound effect, a postmodern, shaky, exaggerated and distorted photography style. As far as this story is concerned, we find that its complexity exceeds that of most ordinary domestic films today. Therefore, people who can't tell stories in Zhang Yimou should revise their wording and look at his films and works in the early 1990s, which is the result of his joint efforts with the screenwriter.

Film Review 4 "Something to Say" is Zhang Yimou's work at its peak. Although few people think this is a bad film, I'm afraid not many people choose this work as Zhang Yimou's masterpiece, or even the best performance so far. At most, I think it is a successful work showing black humor. Jiang Wen's and Li Baotian's performances are remarkable, but there is a big gap, such as "Hanging the Red Lantern" and "The Story of Autumn Chrysanthemum". The film didn't win any awards at the international film festival, and its performance in the overseas art film market was extremely poor, which was a serious disorder for Zhang Yimou at that stage. But You Talk is a very strange movie for me. I watched this movie again recently, and I am absolutely sure that it is the best play in Zhang Yimou. There may even be conspiracy theories. For example, one day someone suddenly and mysteriously told me at a dinner party that the film was actually directed by Jiang Wen, and I would agree with this view irresistibly.

In the 1990s, Zhang Yimou was the most important spokesperson for mainland Chinese films at international film festivals (this status was replaced by Jia in the new century). From Ju Dou to My Mom and Dad, every film of Zhang Yimou has been shortlisted in the main competition unit of three major European film festivals, and has been nominated for the jury award in Cannes, the Golden Lion Award in Venice, the Golden Bear Award in Berlin and the Oscar for Best Foreign Language Film. Most of these films are very popular in the art film market in Europe, America and Japan. In the American market, for example, films such as Chrysanthemum Bean, Raise the Red Lantern and Live have all sold millions of dollars. This is a huge profit based on the production cost of that year. At that time, the most serious criticism of domestic public opinion on Zhang Yimou was that he tried to gain the attention of westerners by showing China's ignorance, backwardness and ugliness. This kind of ideological accusation is really rude and cannot be tolerated. It is true that Zhang Yimou's films at this stage show the ignorance and backwardness of China people, but this is actually part of the overall theme expression of Zhang Yimou's films at this stage. In the 1990s, Zhang Yimou still inherited the social ideological trend of reflection and criticism in the 1980s, while in the 1990s, China was in the throes of reform, and the confrontation between conservatives and reformists was still fierce. Chrysanthemum Bean, Story of Autumn Chrysanthemum and Hanging Red Lantern all aim at criticizing the conservatism, ignorance and backwardness of old China and new China, and this critical consciousness is directly related to the enlightenment discourse of the May 4th Revolution. Zhang Yimou's films in this period were all adapted from novels by famous writers, but the words were short and pithy, and the overall effect was more or less that the form overwhelmed the content. In Ju Dou, Zhang Yimou uses color to divide psychological space and express intense desire and struggle. In The Story of Autumn Chrysanthemum, the narrative of Hollywood popular drama is closely related to the performance of non-professional actors. Hanging the Red Lantern is the ultimate expression of Zhang Yimou's best symbolic expression. These films, including the later "Shake, Shake, Shake to Waipoqiao", "No One Can Be Less" and "My Mom and Dad", are all short articles of different degrees expressed by the creators in dazzling and fierce ways. After reading a work, if the deepest impression is the director's technique and strong dominant theme, I don't think it is a first-class work.

There is a saying that is the only exception of Zhang Yimou's serious creative period in this decade. Although this film was also shortlisted in the main competition unit of the Venice Film Festival, it rarely won any awards, and it is also the worst-performing film in Zhang Yimou's overseas art film market, and has not even been shown in North America. Gong Li left Zhang Yimou for only one reason. One of the reasons is that the city image of contemporary China is quite different from the aesthetic-ideological setting before Zhang Yimou. But it is precisely because of this reason that, in my opinion, Zhang Yimou, who got rid of China's image spokesperson and unloaded the heavy national burden, showed unprecedented creative vitality.

This film, with a slightly colloquial flavor of Wang Shuo's banter, is the first time that Zhang Yimou has targeted the contemporary city of China or the capital Beijing. Zhang Yimou, on the other hand, has no intention to show the so-called spectacular side of contemporary Beijing as before, and then give it a head-on blow. This time, Zhang Yimou completely focused the camera on people's breathing, rhythm and movements. Dialogue has never been the most important rhythm regulator in Zhang Yimou's films.

The reason why Jiang Wen is mentioned above is not only because Jiang Wen is the protagonist of the film, but also because the overall style of the film is very similar to that of Jiang Wen. Since the adaptation of Chen's novel Evening News, the story is good, and the overall style is mixed with the black absurdity of violent killing. The narrative logic of the film is very similar to "The Devil Comes". Here comes the Devil, which subverts the mainstream narrative of the Anti-Japanese War, subverts the inherent ideology and subverts voluntarism. Farmer Ma Dasan didn't even dare to kill a Japanese in the era of full-scale anti-Japanese war, but he slaughtered the Japanese angrily after the end of the anti-Japanese war. The national justice doesn't work in front of Ma Dasan, but his logic of killing the Japanese later is reasonable-revenge for his family. The development path of this process is also the paradox of human nature and history. In "Have something to say", bookseller Zhao Xiaoshuai wants to chop people up. Unexpectedly, Zhang Qiusheng, an intellectual who was supposed to persuade him, was mistakenly the target of being hacked. Zhang Qiusheng's final out-of-control and crazy slashing is very reasonable, which is the natural result of narrative development.

Absurdity comes from great contrast. Contrast includes the behavior and personality of the characters. Zhao Xiaoshuai, played by Jiang Wen, is rough, savage and fierce in appearance, but he stutters beyond words. He is gentle and kind at heart, and occasionally has a delicate and romantic side.

"Have something to say" Article 5 of the film review "Have something to say, and some people just have something to say". "

1997, ten years of reform and opening up, China's economy began to develop rapidly, people's lives became increasingly affluent, and society was open (reflected in the fashionable clothes of the hostess). However, the swaying scenes, messy pictures and noisy voices in the film also showed the impetuousness of society at that time, and the contradictions between people also came one after another and became more and more intense. ...

The story probably tells that Zhao Xiaoshuai, played by Jiang Wen, abandoned his girlfriend An Hong (played by Qu Ying), but still "pestered" An Hong's current boyfriend Li Delong to make trouble with him, saying that he would cut off Zhao Xiaoshuai's hand. During the fighting between the two sides, Zhao Xiaoshuai grabbed the computer bag of the intellectual Zhang Qiusheng (played by Li Baotian) and smashed his computer. Since then, Zhao Xiaoshuai, Zhang Qiusheng and Li Delong have been linked. ...

When faced with how to solve the problem:

Li Delong worships money and violence. He thinks everything can be solved with money!

Zhao Xiaoshun advocates the use of violence. He only recognized a tooth for a tooth. Just because Li Delong's words of "begging him to make moves" came out, he felt that his self-esteem was hurt, so he used violence against violence!

Zhang Qiusheng solved this problem through traditional preaching!

Their attitude also reflected how impetuous the society was at that time.

The theme of "Have something to say" is best explained in Sister Passers-by (played by Fang Qingzhuo). Because this sister "has something to say", nothing happened between Zhao Xiaoshun and Li Delong, but it was settled peacefully!

Impressive scenes in the movie:

1, Zhao Xiaoshun hired migrant workers to shout downstairs in Anhong's house in order to recover his girlfriend Anhong.

First place: A passer-by who collects junk (played by Zhang Yimou): His performance is very clever.

Second place: Passerby B: His performance shows cunning.

Third place: Entrusted passer-by C (played by Zhao Benshan): His performance embodies persistent negation.

The three migrant workers have their own personalities, but the same thing is that everyone is trying to make money! It is also a true portrayal of migrant workers entering the city!

2. Zhang Qiusheng and Zhao Xiaoshun are talking in a restaurant (Zhao Xiaoshuai is going to cut Li Delong with a knife, and Zhang Qiusheng stops the fight).

Zhao Xiaoshuai, played by Jiang Wen, is a persistent and impulsive face-saving person.

Zhang Qiusheng, played by Li Baotian, a traditional intellectual, talks a lot. He tried to persuade Zhao Xiaoshun not to act impulsively by "moving with emotion and understanding with reason".

These two people have different personalities, and two different attitudes make the communication between people in trouble ... quite a dilemma of "a scholar meets a soldier and can't figure it out" ...

When Zhang Qiusheng was defeated again and again by Zhao Xiaoshun's unique logic (strong, serious and nonsense attitude) and insulted by the restaurant chef (played by teacher Li Qi), he fell into a state of alcohol madness and tried to resolve the contradiction with an almost violent behavior. When a rational person becomes an irrational person, it also indicates that a tragedy is about to happen-Zhang Qiusheng has entered the detention center. ...

Personally, I like Mr. Li Baotian's performance very much. Really relaxed ...

Recently, with the rapid development of the Internet era, some undesirable phenomena have appeared on the Internet. All kinds of sunspots, sprayers and keyboard players are hiding behind the computer screen, knocking on the keyboard and saying irresponsible, slanderous and even unsightly words to attack people. I think when you have different views on a person or an event, you can express your views appropriately and civilly, instead of using the form of "cyber violence" ...

I really hope everyone can "have something to say" ...

I think Zhang Yimou's movies are still worth seeing ... What can we talk about? ...

;