Happiness Road China Photography

I have long wanted to write a review about this film, because it is my personal favorite domestic film and the best youth film or romance film in China so far.

It is not presumptuous to define this film as a youth film or a romance film. Jiang Wen and Wang Shuo are not talking about the Cultural Revolution in this film, but their own youth and love during the Cultural Revolution. The title of Sunny Days says it all-no one will think that that particular era is really a sunny era, but the statue of the great leader at the beginning of the film seems to point to us with his huge finger: "... the world is yours and yours. But, in the final analysis, it is yours. You young people are like the sun at eight or nine o'clock in the morning ... ",because for this group of children, there is no parental discipline and no teacher's restraint, only beer, old mo, cigarettes, tactics and internal reference films. The Cultural Revolution was just a day when they got into trouble, and this endless freedom was the sunniest life for children. Correspondingly, at the end of the film, the color of the film changed from color to black and white. Perhaps Jiang Wen thought that the Cultural Revolution should be the most colorful period in Ma Xiaojun's life. Compared with the most dissolute life, even if he drives a Cadillac, he loses his luster.

Since it is a youth film, love is of course indispensable. The scene of picking a lock actually implies Ma Xiaojun's curiosity when love was just budding, so the first lock he pried open should of course be a drawer with a condom locked, and the exploration triggered by curiosity was out of control until he met Milan, or a photo of Milan. In the classic scene of playing with binoculars, Ma Xiaojun made the first brilliant discovery of the opposite sex in her life, so the photos she saw at that time were actually in color. However, people who have experienced that era should remember that there were no color photos at that time, and color photos were only a luxury until the early 1980s. Therefore, with the gradual disappearance of Milan's mystery, her photos in Ma Xiaojun's eyes also lost their original brilliance and became the original black and white. When he was crazy about Milan, Ma Xiaojun also heard about Milan's "deeds" from his companions, but his affection for Milan made him completely ignore those rumors. However, the ambiguous relationship between Milan and Liu Yi, as well as the jealousy and jealousy of Milan in the swimming pool, made all his good impressions of Milan broken again and again. Finally, the kick that kicked Milan into the swimming pool clearly expressed Ma Xiaojun's disdain and disgust for her at the moment.

Another plot corresponding to this is that when Milan first appeared, in Ma Xiaojun's eyes, her footsteps were so light, mysterious and unattainable. However, in the scene where Milan climbed into the swimming pool to show off her figure at the end of the movie, the audience will notice that from Ma Xiaojun's point of view, Milan climbed into the swimming pool so clumsily, and the audience will feel that from a photographic point of view, she is so fat, as if Ma Xiaojun were examining her eyes. This is so different from the memory that she wore sunglasses thousands of miles away when she first met Milan. In the past, Ma Xiaojun was able to get close to Milan only because she asked him to pour water and wash her hair or drive her to the farm by bike. After all the mystery of the opposite sex she once loved disappeared, Ma Xiaojun finally got rid of her pent-up feelings, rushed into Milan's home and broke the key chain tied to Milan's ankle that she had long wanted to break. Later, Milan's semi-nude lens, which was deleted when it was shown in domestic cinemas, showed Ma Xiaojun's youthful impulse, and also witnessed his break with Ma Xiaojun, a teenager walking on the roof with a hazy feeling of love.

Just as the sunshine in the Cultural Revolution was so bright that it was unreal at that particular time, the scene in the rain was so unreal in the warm tone of the whole film. Perhaps because it is not true, Ma Xiaojun's illusory fantasy became a reality in this scene. In this scene in the rain, Ma Xiaojun unexpectedly changed his former caution and called out the name of Big Milan. When Milan asked him, "What's wrong with you?" When he was in the film, he did not hesitate to say the only sentence that has been lingering in her heart-"I like you!" " "Milan hugged him tightly as he wished, which was the only comforting hug in the whole movie, but it was so unreal, because in the most sunny day, the rain was so unreal ... The reality that Milan was still flirting with Liu Yi after the rain cleared proved that his fantasy was really wishful thinking. The scene of fighting with Liu Yi at the birthday party was just an attempted ambition in Ma Xiaojun's heart. In fact, there has never been such a warm rain, such a bright sunshine, such a strong and intense youth!

Gu Changwei's photography skills are fully displayed at the end of the film ―― Ma Xiaojun is kicked out of the swimming pool, and his helplessness in the water also symbolizes his isolation. This very stream-of-consciousness shot shows the sense of suffocation very well, but a little sinking and alienation in the shot seems to express his sense of playfulness, which may echo the sense of accomplishment when Ma Xiaojun, who is full of ambition at the end of the film, drives his countdown partner in a famous car!

Finally, when Ma Xiaojun walked sadly on the roof, riding a bicycle with his beloved Milan and crossing the forest path in the orange sun of the sunset, the background music was an episode in Mascagni's opera "Country Knight". This classical music from a foreign opera is so harmonious with the love for China during the Cultural Revolution that the angry bull who first quoted this episode is not suitable for this song.

Jairo (name); Hero (movie name)

The theme of Zhang Yimou's film-"The world pricks Qin, but the world gives up pricking Qin". Why give up? Because the assassin heard that he wanted to assassinate the tyrant and claimed to build a great country, he was moved by other people's dreams. My impression of Qin Shihuang is that he is a man with a plague in his hand, waving his sleeves and thundering, ruling only by violence and never carrying forward his dreams. He has no idea to put his motherland and Xinjiang outside the motherland.

Qin Shihuang in Hero is different. He is a new character. As soon as he opened his mouth, he said what heaven would be like. In the unified Jiangshan Pavilion, he looked at the North Korean painter and his son, who were full of tears of national subjugation, and could calmly tell why he wanted to unify the world and make the places visible to the eyes and the places invisible to the eyes become a great country together. Finally, let the father and son see the hope of rebirth in their eyes-this is not an ordinary person. Our descendants naturally know that this unusual person's next job is to burn books and bury Confucianism to serve the world, so it is also a kind of sincere affection to listen to him at this moment, and it is impossible not to take a chill in the back ditch.

I think this film is over praising the recognized tyrant Qin Shihuang. The king of Qin is obviously a tyrant. From the stories of Qin Shihuang burying Confucianism and Meng Jiangnv crying down the Great Wall, we can see that the theme of the film is nothing more than a copy of national interests above all else, but in Zhang's text, national interests are replaced by "the world". If this is the case, the orphans and widows left by the people killed by Qin Shihuang should also understand the pains of the king of Qin like unknown swordsmen, because their personal suffering today is precisely the price they must pay for the peace of more people tomorrow. Many people will die, but the king will live. Just "remember the king for the dead". I really don't agree with this slave logic and the hero in this movie is not a real hero. The reason why the chivalrous man in the film is praised as a tragic hero is nothing more than to save the world from the suffering of war and to give up personal grievances and hatred for the country. The so-called sacrifice of one's own private interests in exchange for the moral indoctrination of the grand duke of the world, thus raising the deprivation of personal spirit and interests to a natural justice. Under such "justice", of course, whoever consciously sacrifices his life for justice and contributes "ego" to "ego" is a hero. However, the problem here is that this "world" is the "world" of all people in the world and is made up of living flesh and blood. If it can be the reason why everyone should sacrifice himself for the "world", how will such a "world" be concretely implemented to all people in the world? Isn't this a contradiction? Real heroes should be like Yue Fei and Wen Tianxiang. There is also Yue Fei's "Man Jiang Hong" and his mother-in-law's tattoo. Wen Tianxiang's lyrics "Song Zhengqi" and "Crossing the Ocean" have been handed down from generation to generation. Zhang Yimou's image scheduling is too simple. The climax of every martial arts drama is the result of high-speed photography and special effects, just like a series of scenic feature films piled up by advertisements. I don't think unity is a sufficient reason for being a hero, because a real hero should undoubtedly be the messenger of justice and virtue. A hero is a human being, so he should have compassion and compassion. Not to seize the rights of everyone in the world, but to liberate the world and sincerely benefit the people. According to this standard, the king of Qin can only be regarded as a traitor or a murderer at most. No matter how great his historical achievements are, the murderer will not stop being a murderer before the law, but become a historical hero. This is unfair and insulting to those who died at the hands of the king of Qin.

At the end of the film, there is an absurd scene that makes people smile from ear to ear: the great swordsman who went through all kinds of hardships to get to a position only ten steps away from the king of Qin is nameless. When the real-time assassination was successful, he was actually moved by the tyrant who advocated eternal "peace" and killed people without blinking an eye. After being inspired, he regretted it, gave up the assassination plan and turned away. This is a happy ending. It's unreasonable. You should be able to get away with an unknown martial art. Here are some topics. Zhang Yimou's outspoken support for Qin Shihuang in Hero ruined a rare theme that could have made a grand history of poetry.

We are young 2

A wonderful time, a wordless ending.

"If there is another ticket, will you go with me?"

The swaying cheongsam, the dim street lamp, the meticulous portrait of love, and all the feelings I want to say are like an old yellowing turntable, quietly rotating in the phonograph of the years. There is no hubbub and impetuousness, no epitome of bubble culture, just a sad but beautiful singing of an old song: In the Mood for Love. A good movie followed, equally gentle.

This is a film by Wong Kar-wai, the representative director of postmodernism in 1990s. The story is simple-it's about the extramarital affairs of two married men and women. Another film with a similar theme is The Bridges of Madison County. The two have the same effect, except that the latter is the love view of westerners, while the love view embodied in In the Mood for Love belongs to the oriental feelings of "white walls and black tiles in those days".

Let's go back to Wong Kar-wai, a role director who often wears a pair of sunglasses. His films are full of strong personal colors. "Sleeping in the Wind" and "One Minute Theory" In the true story of A Fei, A Fei's disrespect seems to be his epitome; In Chongqing Forest, 633 and 663 police officers have their own maverick life ideas, and canned pineapple and the theory of love preservation have also become the classics of China films. In Time Has Changed, Ouyang Feng's sharp eyes and the atmospheric lens of "lonely smoke in the desert, the long river sets the yen" have also become models for many directors, even Zhang Yimou. Even though it is a controversial gay film, "Spring Break Out", Wang Dao can still make it exquisite and moving. The clever use of long shots and the vertical beauty of Niagara Waterfalls in the film are also fatally labeled as Wong Kar-wai style. However, in In the Mood for Love in 2000, Wang Dao's avant-garde aesthetics was not reflected. On the contrary, this film is full of implicit beauty and hidden camera language. The theme of the film also pays attention to the usual emotional treatment of China people, and conveys the unique charm and thoughts of the East to the audience from beginning to end. It can be said that this film is the least like Wong Kar-wai's style, but it is deeply loved by him.

In the film, Tony Leung Chiu Wai and Yunhe respectively interpret Yun and the married men and women of the old Hong Kong middle class in the 1960s with traditional concepts. They used to have their own families. One kind of fate made them all move into the same apartment, and another kind of fate made the distance between their two families just a wall apart. In the gradual interaction, everyone became familiar. But when they met alone in the narrow corridor, they just said, "What a coincidence?" They hurried by and went their separate ways. If life is like this, it will be safe and comfortable. But finally one day, they discovered the fact that their partner was unfaithful. I don't know whether Zhou and Su are in the same boat, or because of revenge, or neither. They just want to find a bosom friend to talk to. In a word, they became friends. We ate western food together, wrote martial arts novels together in Room 2046 of the famous hotel, interpreted the reasons why their lovers cheated together, and ate glutinous rice chicken together in the hero's room early in the morning ... They all said, "We won't be like them." But later, I said, "Some things will happen before you know it." Proves the beginning of love. The cloud is struggling, struggling, struggling on the edge of emotion and moral rationality, and wandering on the edge of love and not love. Unfortunately, in the end, none of them went beyond the critical step and separated things. With the concern for each other in his heart, Su Lizhen chose to sit in his empty room and cry silently, letting the tears flow freely through his cheeks; Zhou Mu Yun chose to tell the secret of his heart in the cave of Angkor Wat, and buried it with earth, so that it will always be a secret. Good years are wordless endings.

This is a movie that will be very heavy after watching, and it is also a movie that will be thoughtful after watching. Many people see it only because of its gorgeous cheongsam. Indeed, when 26 sets of elegant cheongsam tightly wrap Maggie Cheung's exquisite curve, it is indeed a kind of beautiful enjoyment. But if you watch this movie just to appreciate the beauty of clothes, it's a bit of a waste of a good movie.

A good movie is like a cup of green tea. At first glance, it has no taste, but after careful tasting, a refreshing fragrance will unconsciously float into your internal organs. In the Mood for Love is such a movie. Whether it's the exquisite close-up in the lens, the soft light cast by the dim street lamp in the drizzle, or the bright level of the whole picture color and eye-catching tone matching skills, it's the profound skill of director Wong Kar-wai and photographer Du Kefeng. I have to mention the sound art in the film, even the sound effect of raindrops falling to the ground is so infectious, not to mention the main theme of the film, which is accompanied by the hero and heroine meeting in the corridor many times-lyrical with a melancholy violin music. These hardware facilities of the film are perfect, and what is more commendable is the soul of the film-the content plot, which is as ingenious as described by Wong Kar-wai.

This is like a scene that often appears in movies: Yun is eating wonton noodles at a noodle stand, and the scene at this time is fixed on his face for a long time. His eyes are full of pain and loneliness-for his wife who will never come home. At this moment, Su Lizhen appeared on the wet stone road, holding a delicate thermos. The camera was photographed by her slender hand and gradually moved up to her chest, but her face was never seen. This open composition can stimulate the imagination of the audience. She came to the noodle stall, the same wonton noodles, with a thoughtful and melancholy expression on her face-for her husband who didn't come back. Another couple is enjoying love. This couple is just eating their own food in wonton noodles. I have to say that at this moment, the director used a method of interweaving light and dark lines to express two love concepts: implicit and introverted. And this kind of artistic conception can only be understood by repeated careful taste, which can be described as a classic plot of the film.

There is also an unforgettable clip in the middle and lower part of the film. Zhou Mu Yun finally got up the courage to express his pent-up feelings to Su Lizhen. But Sue avoided it with silence. Zhou saw that it was impossible for two people to be together. So, he asked Su Lizhen to do something for him-refuse him and let him practice suffering. Sue agreed. But when Zhou said "Take care in the future" and then let go of her hand and walked away without looking back, Sue began to feel surge of emotion. At this time, a long lens was used, showing that Sue's hand twitched at the moment of release, and then clung to the other arm, and the veins stood out on her hand, and a pain suddenly appeared on her hand. Then the camera moves to her face: unbearable, sad, impulsive, depressed ... all kinds of expressions meet at one place. As a result, there was a scene of crying on Zhou's shoulder. Zhou's hand kept patting her on the shoulder, consolingly saying, "All right, all right, just acting, just acting ..." The pent-up emotion suddenly broke out, but the director did not deliberately stir up feelings, but expressed it elegantly with skillful camera language, but he got the successful effect of "telling more silently than they did with sound". This alone can make many actors shout "I love you!" Study hard, my director.

At the end of the film, after Zhou Mu Yun left Hong Kong sadly, Su Lizhen came to his room, lit a cigar, didn't smoke it, just left it there to let its smoke linger, hover and disperse. A smell she used to know. She sat in the chair and tears began to fall. Drop by drop, finally connected into a piece. At this point, all the background sounds in the movie disappeared. After a moment of loneliness, a man's voice rang in Sue's heart and echoed in the audience's ears-

"If there is another ticket, will you go with me?"

Have nothing to say ......

Maybe everything should be an English translation of the movie: In the Mood for Love.

Just that kind of "emotional love", in that kind of lost mood. ......

The Graduate

When it comes to graduation, you can't help but mention this movie. Dustin hoffman's hesitation and yearning for the unknown world, as well as the passionate and impulsive ending, perfectly fit the mood of graduates. Of course, there is also an episode that is widely sung, which will shake the faint sadness in your heart at an appropriate time. Although I am only a sophomore, I sometimes feel confused about the future, just like in the film. This is just a blank, a dead blank ... from the beginning of the film, Ben's face is a numb expression, which is shared by all graduates. The music of the film adds a melancholy color and is carefree. Ben is an excellent graduate. His family has already prepared everything for him and is waiting for his return, but he doesn't seem to care about it. He is full of doubts about his life. Maybe he once dreamed of many bright futures, but in real life he has to face far more things than in school books. He has to face all kinds of temptations and bear the loneliness after orgasm. This is life. Maybe he's not ready. Maybe he's starting to expose his shortcomings in human nature. When Mrs Robinson invited him to her house, or when she started to seduce him, his conscience began to decline. We can't say that he didn't struggle inside, but in the end he chose to fall. Mrs Robinson is a symbol of this society. She has a firm grip on Ben. She used to be a graduate who looked forward to beauty like Ben, but after experiencing the world, she was gradually assimilated by this society. Now she is a semi-old Xu Niang who pursues sensual enjoyment and spiritual emptiness. She was so cunning and vicious when she was threatened. Maybe we'll all end up like her. At this time, Ben also exposed his weakness. He was very weak, which can be seen from Ben's being at a loss when flirting with Mrs. Robinson at home. Facing this society, Ben is a blank sheet of paper, and he still has a lot to experience. He still has a lot to learn. Now his spirit is as empty as Mrs Robinson's, but he is more cowardly. But during his affair with Mrs. Robinson, he also felt bored one day. When his father asked sternly, "What are your plans for your future?" He was blinded by the glare of the sun and the real question was too difficult for him. And he can only avoid swimming and cheating. "You caught me." Ben's answer was weak and confused, but it also aroused his thinking about himself. At this time, his angels appeared in succession. Lianlian can be said to be the only perfect image in the film, but it is also the simplest of the three. Ben found what he lost and gradually lost from her, and finally got up the courage to confess to Lianlian, but of course it won't be that simple. Mrs Robinson frantically stopped them. But two loving hearts came together and finally confessed their behavior to Lian Yi on a rainy day in Japan. But when Lian Yi knew that the woman was his mother, she was reluctant to leave Ben resolutely. Lian Yi's departure made Ben start thinking. He found himself inseparable from Lian Yi. She brought him so many things that he couldn't find his own direction. He found a reason to live. He decided to return to the fellowship. In the scene of ruining the wedding, the camera showed chaos. When he saw the wailing book outside the window, the camera gave Mrs. Robinson and Mr. Robinson a close-up, mixed in the chaotic panorama, showing the vicious distortion under their hypocritical faces. Ben finally has a company. Finally, the two men ran on the bus symbolizing freedom and rushed to liberation. They have a bright smile on their faces and hope, joy and determination in their eyes, but they are also a little confused. A new life is about to begin. I don't know what they will face.

The film gave me a great shock from the beginning. The film begins with a series of scenes in which the protagonist Ben flies home. Although this is just a set of confession shots, it hurts my heart with a hint of anxiety and pain. In the film, Ben is at a loss, indifferent to everything around him, and walks mechanically on his way home. I deeply feel that Ben is not happy about graduation and returning to his long-lost home. On the contrary, he seems reluctant. Why does a graduate who should be full of energy and momentum in the eyes of others and have a bright future look so lifeless? At this point, as a college student, I certainly understand the reasons, because I am also in a period of hesitation. College life has passed half time before you know it. When I look back on the past two years, I find that I have accomplished nothing and spent all my time on some boring things. If this continues, two years will pass again. At that time, when I graduated from school, would I be as unprepared and confused as Ben? Suddenly I thought of the ardent expectations of my parents at home ... I dare not think about it any more.

After that, Ben accepted the temptation of the wrong woman at the wrong time and place. "Mrs Robinson, you are tempting me. Isn't it? " The film does not clearly explain why Mrs Robinson seduced Ben. Mr. Robinson, is there a problem? Is Mrs Robinson romantic? Or does Mrs Robinson just like Ben? ..... we don't know. But there is a big background that is obvious. The film was shot at 1967. At that time, the feminist movement, sexual liberation movement and black democracy movement in the United States were all in full swing. The rebellious spirit led by The Beatles swept across the country, and countless young people were crazy about it ... In short, it was an era of agitation and rebellion. Therefore, the overall picture atmosphere of the film is very bright and bright, and sometimes even a little dazzling, deliberately creating a restless feeling for the audience. Knowing this, it is not difficult for us to understand why Mrs. Robinson seduced a little boy about the same age as her daughter and watched him grow up, but Ben could not resist the temptation to sleep with an elder who watched him grow up. Is there love between them? At least Ben believed in the love between Mrs. Robinson's daughter Nunn, whom he had not seen for many years, which can be seen from his efforts to appease Mrs. Robinson and his repeated promises not to associate with Nunn. But since he fell in love with Nin at first sight, he knew that his feelings for Nin were love and true love. In addition, Mrs Robinson strongly opposed his association with Nunn and threatened to make their relationship public. Ben and Mrs Robinson broke up completely, and they went to opposite sides. This sexual and loveless relationship is over.

Later, Nunn. She is very simple. During her interaction with Ben, the film played Scarborough Fair many times. This song gives people a beautiful feeling and is in line with Ben's pursuit of Nunn. Completely sincere, it is a simple love process between two young people. The scene of pursuing peace arranged in the film is very interesting, which makes the audience forget the heavy mood for the time being. Let's first look at how this silly boy saved the girl's heart. The most impressive part is Ben's trip to Nunn's school. He sat by the fountain with a hint of expectation on his face. Ben chased Nunn's bus and accosted her on the bus, which made him look like a 2 1 year-old boy for the first time, with a little high heels, which was very popular with the audience. Finally, Nunn and her boyfriend went out on a date, and Scarborough Fair rang again, and Ben felt a sense of loss. Only those who have really experienced this kind of mood can fully appreciate the taste. "Will you marry me tomorrow?" "I don't know" and "What about the day after tomorrow?" Ben's proposal line is a classic, which fully reflects the hero's mood at that time, and only such a 2 1 year-old man who has no plans for the future would say such a proposal.

However, it is precisely because of Nin's simplicity that she can't accept a man who has an affair with her mother anyway, even though she loves the boy deeply. So, Nin chose to marry a boy he didn't love. It can be said that at this time, Nin's heart is still very depressed. Although she really wants to be with Ben, she can't get rid of the shackles of traditional social ethics. Until the end, this earth-shattering wedding robbery was like a key, which completely opened Ning's mental shackles. What social ethics and moral concepts ... were forgotten, and she did what she wanted to do most.

Let's start with the classic marriage robbery. First, Ben drove around looking for Ning who was sent to get married. With the speed, Miss Robinson rings. The tune of this song is light and humorous, which satirizes the adult world represented by Mrs. Robinson and embodies the rebellious spirit of the younger generation. Finally, Ben used the church cross to resist those who tried to stop him from taking Ning away. In the western society, Christianity has established its authority, but it takes the symbolic cross as a weapon to pursue its own happiness. Satire and rebellion are embodied in everything. When Ben and Nunn broke through many obstacles and successfully embarked on their own "road to happiness", Scarborough Fair once again remembered that the film was over, but left our thoughts to us as the audience.

This is the impulse of youth and the victory of youth. However, after the passion, there is no need to face the reality? Ben and Nunn's mother did have sex. This mistake can't be made up by saying "I was wrong, I regret it, and I will correct it later". It can be concluded that this incident will haunt them for the rest of their lives like a nightmare, so that they will never be able to face their parents. In addition, Ben had no plans for his future before. Pursuing Nin and proposing to her are spontaneous, and there is no complete plan. After the successful marriage robbery, he will inevitably face an ancient and realistic question "Love or Bread". It suddenly occurred to me that in the process of robbing marriage, Ben was lying on the glass of the church at a certain moment and shouting at Ning. At that time, the shape and expression were very similar to those of Jesus crucified. We can't help but think about who he was suffering for, for himself or for all the younger generation who were as rebellious as himself. ...

"The Graduate" is a song of youth in that era in America. As a member of the younger generation in China, I seem to have encountered the same situation as the protagonist. So after watching the movie, I couldn't help but feel deeply moved and uncomfortable, so I made so many complaints, hoping to arouse the thinking of some young people who are at a loss like me.