What's the story of Breath in Early Spring? How to evaluate?

If the characteristics of literary language are embodied in words and the characteristics of dance language are embodied in body modeling, then the characteristics of film and television language are embodied in the montage of pictures, sounds and sound paintings. Hong Kong director Wong Kar-wai's 1997 work "Spring is bursting" is not only the representative of the extreme expression of film language. This film, which once surprised the world at Cannes Film Festival in France, is natural and harmonious in narrative, editing, light and shadow, music and so on, and has an extremely unified and long-lasting charm.

The story of this film takes place in Buenos Aires, South America. Compared with Hongkong, this is the story of a pair of homosexuals, Li Yaohui and He Baorong, who are on and off in a foreign country. It has always been said that Wong Kar-wai's works tell a story from beginning to end, about rejection and escape, about freedom and search, and Love at First sight is no exception. "If you don't want to be rejected by others, you must reject others first." In Ashes of Time, also written by Wong Kar-wai, Ouyang Feng, also played by Leslie Cheung, said that He Baorong, played by Leslie Cheung, was transformed into a beautiful shadow with no sense of belonging, repeating the story of rejection and search.

Judging from the characters themselves, they are wandering, even marginal. From Hong Kong to South America, they have a heavy sense of rootlessness and alienation, or "ashes of time". There is such a dialogue:

"What will be behind the desert?"

"This is not another desert."

Even if South America is the end of the world, the most difficult thing to escape is the shackles of the soul. So, Wong Kar-wai despaired, Li Yaohui despaired, and He Baorong, he wouldn't despair, because he didn't find his heart.

The film can be divided into three parts in terms of color tone. In the first 24 minutes, the two broke up in discord. Li Yaohui went to a bar as a waiter to make money, and He Baorong wandered around. This photo was processed in black and white. After 24 minutes, the two reunited, and the picture became colorful. Just like Li Yaohui's mood, the main colors are yellow, orange and green, which are warm and lazy. When they separated again, the film entered. The transition of these colors accords with people's understanding of color in aesthetic experience. It can be said that Wong Kar-wai's use of color is always direct and full of emotion.

Photography and editing of movies are often praised by professionals. Some critics say Spring is Wong Kar-wai's most technically mature work. It is undeniable that "the artistic skill is to finally fix the image created by imagination and give the tower the ability of physical state and form". However, when emotions jump out of the framework of skills, skills become natural and leave no trace. The application of excellent montage in Spring is worth recalling again and again. For example, there is a clip of 13: 30 in the film: Li pushes the door open and enters the bathroom-what is Li Ying's figure in the mirror-the door is closed, how to get out-Li pushes the door against the wall and goes out-how to push the bar door to the car. ...

This montage connection is very concise, and it describes the scene where two people pass by but miss each other with rapt attention. Or it can be understood that the helplessness of avoiding meeting He Baorong is the deepest injury in Li's heart.

Contrast montage and parallel montage also appear repeatedly in the film, such as the plot of the film at 1 1 minute, how to leave the bar where Li works, and how Li walks to the middle of the road with a bottle to watch He's car leave. The next shot is how to light a cigarette, look back at Li, who is getting smaller and smaller, and then turn around and look forward with cold eyes. In the 87th minute of the film, Li came to the waterfall alone, splashing water droplets mixed with tears, and at the same time returned to the hut where they once lived alone, holding the quilt and crying. Very influential.

In the use of symbolism, Wong Kar-wai is also very skilled. "Sleeping in the wind" in The True Story of Teddy Boy symbolizes the soul that has no foundation and is looking for it in floating, and the lost time memory is symbolized by the constantly appearing clocks and watches. The desert in Ashes of Time symbolizes the emotional desert and endless despair of modern people. In spring, there is also a very important symbolic image.

"One day, He Baorong bought a desk lamp, which I think is beautiful. They really want to find the waterfall on the lamp, "Li Yaohui said in such a monologue, so the lamp and waterfall run through the whole movie. The lamp is a witness to their feelings. After opening and closing, He Baorong asked Li Yaohui, "This lamp is still there. I thought you had thrown it away." After Li Yaohui left, He Baorong debugged the lamp, lit it again, and then cried alone, showing his regret. The waterfall directly symbolizes the goal pursued by the two people, and it is a metaphor for the emotional destination, but in the end it still comes to nothing. The long shot of the waterfall appears repeatedly in the film, sticking to the sky for a minute and a half, and flowing slowly, enhancing the imagination and emotional density of the viewer. Wong Kar-wai himself was once asked about the symbolic role of the waterfall scene, and his answer was "representing the sexual energy of the city".

In addition, I have to mention the music of the movie. From the perspective of artistic aesthetics, music has the lowest dependence on material materials, so it becomes more purely expressive of emotions and more directly related to images. The perfect combination of music and pictures will play a multiplier role in the expression of emotions.

Tango music rippled in the pub, with dim lights, noisy crowds, wild dancers and the alienation between people looming. Tango was vulgar as soon as it was born, because it was born in some low-level entertainment places. The tango music in the film is tango Nuevo. Astor Piazzolla, the late Argentine national treasure master, dissolved classical and jazz elements into traditional tango, which was full of energy and emotion.

In the film, Li Yaohui used piazzolla's prologue when he was boating alone on the water. Sad and heavy notes, together with Li Yaohui's dark and sad face, take away the viewer's heart. Tears drift with the music, move slowly with the camera and flow into endless emotional space.

Singing a song "Cucurrucucu Paloma" in a low voice. This is a song about pigeons. "They swore that when they heard his wailing, the sky began to shake violently. How much pain did he suffer? ..... They swear that the pigeon's soul has been waiting for the return of its lover ... Stone is always a stone, pigeon, can you expect them to understand love? Goo goo goo, pigeon, stop crying for him. ..... "Gray-blue picture, the voice is whispering, so my thoughts are overwhelming.

Such as this, the amazing combination of music and pictures in the film often makes the mood high with a sense of kneading and rotating.

The perfect combination of music, pictures, light and shadow, and many elements is the ultimate embodiment of film language and the necessary guarantee for film to be called art. Excellent works of art always have the sublimation power to make people realize and understand repeatedly in different aesthetic experiences. This is the case with Early Spring, a movie that people have watched over and over again. Its charm comes from the warmth in its light and shadow, the harmony of the whole elements, and the continuous excavation of detachment. Seeing a good movie and getting unusual aesthetic pleasure is to seize the pace of time.