Comment on Farewell My Concubine

1. Can Farewell My Concubine be regarded as a blockbuster in a strict sense? The answer is, of course, yes. Although it is co-produced, Farewell My Concubine fully meets the requirements of blockbusters according to the characteristics of traditional quality. The film used the most influential actors from Hong Kong, Taiwan and Chinese mainland at that time, with exquisite story structure, gorgeous image language and exquisite scenery, making the film look more like a grand project, which was carefully decorated by the director from inside to outside. Although the film continues the inertia of political criticism, it is still pursuing the return and outbreak of realism. The film bravely exposes the real face in real life, describes the sharp contradictions in social history, and evokes people's hearts with a realistic spirit of facing life, thus making the film artistic in the quality tradition. The so-called art in the quality tradition is the art transplant in the commercial blockbuster. It is undoubtedly a clever way to arrange such a pair of metaphysical spirit and matter reasonably, because it will not only gain commercial benefits, but also make the audience unconsciously accept the depth provided by the film, which is eternal, so that we can appreciate its eternal artistic charm and connotation tension no matter when watching the film at that time, now or in the future. Farewell My Concubine is a film with a long time span about the publicity of human nature in a specific environment. The task of art criticism is to find and name such a concept of human nature in works. The artistic success of Farewell My Concubine lies in its unique grasp of confusing human nature. Does anyone know what human nature is? Confucius said that human nature is similar and acknowledged, but did not say what human nature is; Mencius said that human nature is good, Xunzi said that human nature is evil, Gao Zi said that there is no distinction between good and evil, and he also said that it is erotic, and so on. Most of the sages in China expounded human nature from the perspective of social ethics. After the Renaissance, the European bourgeoisie regarded human nature as perceptual desire, rationality, freedom, equality, fraternity and so on. Most of them explain human nature from the perspective of human's essential existence and natural rights, because they oppose the feudal system's bondage to personality. In movies, human nature is the most primitive role, and society often "achieves" some kind of human nature for some reason. Although we often say that it is only art, art comes from life. The original little bean became Cheng Dieyi, because he had a sense of identity. Little Doudou was originally a man, but she wanted to be Nv Jiao E in the play. This distortion of personality and behavior has created a unique Cheng Dieyi. In the play, "she" is full of femininity, just like a daughter. The infinite amorous feelings of her smile, words and deeds all reveal the true nature of a fake concubine. Outside the play, the so-called "no magic, no existence" is the foundation of his performance of human nature. He didn't forget his concubine status, at the same time, he also deeply compared his elder brother, now Duan Xiaolou, who relied on him since childhood to a bully. It can be said that in Cheng Dieyi's view, life is drama, and drama is life. So we can see many absurd behaviors and manners of Cheng Dieyi, because he is not only deeply involved in the play, but also reinterprets human nature in his bones. The misunderstanding of this interpretation lies not only in himself, but also in the society's misunderstanding of his humanity, so that when Cheng Dieyi felt that he could no longer be his concubine, the film chose a more artistic ending for Cheng Dieyi, that is, to keep his pure humanity and let his life come to an abrupt end. In a purely rational society, a unique human nature is always considered neurotic. According to Freud's psychoanalytic theory, Cheng Dieyi has typical neurotic neurosis, and their powerlessness in interpersonal communication and external influence is indissolubly reflected, and their sensitivity and excitability; Their fickleness and instability, and their inability to do anything well, lack of knowledge and ability. But in movies, this rationality will become romantic, because while looking for texture, movies will not forget that for most audiences, their requirements for watching movies are far higher than reality, that is to say, their great purpose of watching movies is to be divorced from reality. If Cheng Dieyi is sentimental, then Duan Xiaolou is just a mortal living in fireworks. For him, drama is just a means to make a living, which means that Duan Xiaolou's tepid roughness and truth are flesh and blood, and the presence of Duan Xiaolou also keeps the audience from wandering too far in Leslie Cheung's performance without leaving a trace. But what is certain is that Duan Xiaolou's deterrent effect is not so obvious. Only when the audience gets carried away can he bring us back to reality. Therefore, we can understand why this movie will make Duan Xiaolou betray his personality at a critical moment. This is the director's understanding of that era and the director's understanding of people of that era. Since there is such a pure Cheng Dieyi, it is necessary to create a real person who has experienced many vicissitudes outside the play. Art in the quality tradition is not a very pure proposition. What is art? How should we define art? What is the art in the movie? These are some uncertain questions. What about quality tradition? Can art survive under this gorgeous appearance? Farewell My Concubine gives us answers to many questions, especially the combination of art and quality tradition. In my opinion, quality tradition is not only commercial, but also exists because of the needs of plot and art, and even a forced lifestyle. It gives us a brand-new concept of film creation, that is, business and art are not completely opposite. 2./longbook/ 1080096344 _ sutramovie/68 . shtml