The structure and color application in the 37th episode of Tab Projection Room-Zhang Yimou film 06-House of Flying Daggers.

The 37th episode of "Tab Projection Room" —— Composition and color application in Zhang Yimou's film "House of Flying Daggers" 06

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Starting from Hero, Zhang Yimou continued to run on the commercial road. Zhang Yimou's film aesthetics is still the highlight of the film. "House of Flying Daggers" is a work dedicated to the centenary of China's films, but it is also a work in which Zhang Yimou is completely knocked down by Chinese people and criticizes countless films. This film has been highly praised in all places except China, won numerous awards and made a good box office. It is recognized that China's "cultural export" film has been completed. Even Sophie Marceau said in an interview with iQiyi that "the first open China movie that impressed me was Zhang Yimou's House of Flying Daggers".

Compared with Zhang Yimou's Heroes, Golden Flower in the City and Shadow, they are actually experimental films of color application to some extent. For example, Xiaogang Feng's I'm not Pan Jinlian is not universally representative, because the color application and composition of these films have been exaggerated to the extreme, and those who know will see the difficulty and innovation, while those who don't know (or don't like) will think the art is too mysterious, while "House of Flying Daggers" is Zhang Yimou's.

However, after the release of House of Flying Daggers in 2004, it was scolded by the audience and the media to a new height. Due to the excessive negative comments of the media on House of Flying Daggers, the National Film Bureau held a media meeting, calling on everyone to "treat domestic films with a tolerant and peaceful attitude and provide a good public opinion environment for domestic films". In order to ensure the box office of House of Flying Daggers, the Film Bureau even issued a document to postpone the release of imported blockbusters. The official explanation is: "Supporting domestic blockbusters is to build your own aircraft carrier and resist foreign cultural aggression." The reason why this film has been criticized for nearly 20 years is because of the ending of 1 hour after 38 minutes. Many film critics and audiences agreed that the film was a stunning work with endless aftertaste before 1 hour 38 minutes, and the score could reach about 8 points. 1 hour 38 minutes later, the ending dragged on, and my little sister was lifeless and jumped repeatedly. Generally speaking, this is a "small plot" movie. What the director wants to express is not the story itself, but the gorgeous beauty and extraordinary photography skills that accompany the story. Even in the story, the focus is on love, not fighting and killing. Most of the previous narratives were not too big a problem, and it was still a very good story until my little sister returned to the flying knife door to solve the mystery. But there are too many problems in the design of the ending, which has been reviled by countless domestic audiences in the past 20 years. Although it is rumored that the shooting location of the Ukrainian snow season arrived ahead of schedule, resulting in a temporary change in the script, it still cannot explain a series of logical errors.

Zhang Yimou said in an interview with "Thirteen Invitations": Not every movie can focus on the screenwriter, but all focus on the screenwriter ... (soundtrack)

In addition to the problems of the plot itself, the film still gives people the deepest visual impact and impression, that is, the use of color in the film.

Through the analysis of Zhang Yimou's movies, we can know that Zhang Yimou especially likes to use large color blocks in movies, because such pictures are tough and bright, and the impact of visual effects is stronger, which can reduce the energy consumption of light and dark contrast and dark details. After reading many interviews with him, I personally feel that he should be deeply influenced by Lawrence of Arabia (directed by David Lane 1962) and like to pursue this hardcore photography style. In House of Flying Daggers, in order to conceive the contradiction between love and crisis, Zhang Yimou deliberately created a lush bamboo forest. However, there are golden flowers in the dangerous bamboo forest, which is a combination of crisis and romance.

This paper focuses on the color application of four representative scenes in the film:

1. Peony Square Peony Square's wall is dominated by green, red and gold, which is particularly eye-catching and full of charm. Pavilions and pavilions are full of peony flowers, magnificent and gorgeous. When Jinputou watched Miss Sister's dancing skills in Peony Square, the main color of the film was blue. The clothes worn by Miss Sister and the artists who played the pipa everywhere were all blue. The light plaid shirt of Jinputou was mainly blue and yellow, which was also related to the pattern of the carpet on the ground. The colors of the carpet are blue and red, and the patterns on the carpet are mainly red flowers, supplemented by blue butterflies. In the design of color sequence, there is also stress. At this time, the dancing of my little sister's blue clothes formed a contrast between cold and warm colors, and the melancholy and moving beauty in blue came together. The panorama here and the difficult medium-term prospects behind it can be regarded as dancing. However, the overall sense of coordination and composition is still beautiful.

When Liu Shoutou asked Xiao Mei to dance "The Fairy Guide", the drums around her were changed to dark pink, and Xiaomei was changed to a long-sleeved skirt of gold and pink. Even the blue butterfly with the ground pattern is obviously darkened when the lights are on. In this way, when listening to the sound and dancing, the contrast with the surrounding environment is as obvious as just now.

In addition, the surrounding spectators are also dressed in blue or light pink tones, so that when photographers focus on shooting them, men and women clearly contrast and highlight each character, and the contrast with the surrounding balconies is also very obvious, and they will not be submerged in buildings and shadows. When shooting Miss Sister, the drummer in blue will naturally blur in the background, so the close-up with the foreground people will not cause too much color gap and conflict. Here, I gave my little sister a lot of close-ups and close-ups, showing her gorgeous makeup and color matching. The brighter and clearer she is, the Chinese beauty in her bones, the weak bones and rich muscles, and the makeup that makes the finishing touch between her eyebrows, so that the audience can always capture the actors' faces in moving shots (especially the contrast between the eyes without god and the dances with big eyes and big eyes). Imagine a stunning actress who is blind. This unconscious beauty is much higher than self-pity in the mirror. If there is no eyebrow makeup here, it will make the makeup look pale, even if it is amazing, it will easily be submerged in a large area of long sleeves and a large area of dance clothes.

When the younger sister danced, in the close-up of the sleeve touching the drum surface, the color of the drum surface was emphasized again, and the golden pink was enhanced. This set off a beautiful woman singing and dancing in a beautiful pink building. Later, in the fight between Little Sister and Pig Head Liu, they entered the room with a blue Shui Ying. At this time, the curtains are blue, and the water waves in the bath are reflected in the light, reflecting the light blue ripples that pervade the whole room. Because the shaking of the blue curtain makes the young lady unable to hear the sound, the clip here needs to leave the original sound.

This also implies that in the future development of the plot, Sister Lan will tend to be the golden watcher, because Liu's watcher here is really too heavy-handed ... The ambush of interlocking routines eventually leads to the love tragedy of three people, while Zhang Yimou makes good use of color addition and subtraction here, that is, unnecessary colors are no longer involved, and most of the pictures in the film are composed of specific red, yellow and blue primary colors.

2. The location of the Ukrainian flower sea, the gorgeous flower sea and the snowy mountains connect the film into a flowing landscape, just like a splash-ink painting with color rendering. More natural primary colors are used here, and color matching is strengthened in the later period, which makes people feel that they are not far from the protagonist.

Halfway through the film, two people rode horses from the Woods to a sea of flowers. The panoramic view here adopts line-of-sight guidance and horizon composition, with blue, green and Huang San colors. Then, the character lens of Little Sister knows that there are flowers ahead through the fragrance of flowers, and the lines of Little Sister here, you said you would take me to a romantic place, Shan Ye (soundtrack). The little sister is surrounded by endless white flowers, and the appearance of white is the key to their emotional turning point. From the golden wheat field in front of me, I saw my little sister bathing in a pool surrounded by green leaves. After taking a shower and changing into men's clothes, I have a far-reaching vision here. All this shows that the golden catcher has begun to be tempted by Miss Sister, who is among the flowers and echoes the ending in the snow. Here, the golden watchman picks flowers for Miss Sister, and Miss Sister stands still among the flowers, making each other interesting. The camera slowly pushes on Miss Sister, and the bouquet gradually approaches Miss Sister. All this shows that the golden watchman is gradually approaching her heart. It paved the way for the follow-up confrontation between the golden catcher and Liu catcher and the choice of the golden catcher by my sister! And I don't believe what Liu Zhutou said in the bamboo forest. I've been waiting for you for three years, so I might as well have him with you for three days (original sound)

3. The green of bamboo forest is the most dynamic color in natural life. It has a feeling of calm, stability and hope. Green symbolizes peace and represents spring. In House of Flying Daggers, Zhang Yimou chose to shoot in the bamboo sea in Yongchuan, Chongqing, and the whole picture was condensed into a spectacular green ocean. In the film, in the vertical bamboo forest, the catchers hanging vertically from each bamboo slide down one by one. Heaven and earth, people and things, the whole picture condenses into a spectacular green ocean. That piece of green looks very exciting, but it also makes people feel chilling, because this kind of killing with the same color makes people hard to prevent, and it also makes people begin to realize Zhang Yimou's inner tumbling and changes. In color psychology, green represents life and peace, calmness and calmness. This color was actually expressed in Zhang Yimou's subconscious, and he called for a fair public opinion environment. At present, there are many people in China film critics who are bound by abnormal concepts. In any case, they should criticize the film reviews of famous directors to pieces to show their taste and knowledge. Although Hero has gained a lot of box office, it has also been mercilessly attacked and denied from all directions. Therefore, the infatuation in House of Flying Daggers is a subconscious expression of Zhang Yimou's appeal for a fair public opinion environment. He is eager for a fair and objective evaluation, and he needs a clear direction. Under great pressure, he still calmly adhered to his dream.

When the officers and men chased by bamboo forest come, we can find that the background color of Xiaomei's clothes is dark green, and the officers and men chased are all green with a large green bamboo forest in the background.

Only in the close-up and the close-up shooting of my little sister can we see the red and purple clothes that are out of tune with the surroundings. No matter how the rest of the shots are switched, the main color is green. Whether it's a fast catcher who keeps killing, or a bamboo tube that flies around, it highlights the difference of a green package through the different shades of green. When the golden catcher faces the fleeing enemy, it is also the title of the movie "House of Flying Daggers". I believe many friends who have seen this bamboo forest drama will unconsciously think of the bamboo forest battle between Zhang Ziyi and Li Mubai in Crouching Tiger, Hidden Dragon by Ang Lee. We can find that the two directors have different styles in color application, scene scheduling and composition. In Ang Lee's view, both of them are dressed in white, especially in a piece of green. No matter how the lens is switched, two people will always be the visual center of the picture with white!

? 4. Flowers and Snow

In the second half of the movie, the flying knife door saved the little sister and the gold catcher, and the little sister's clothes changed from blue, pink and black to green. Clothing color is also a way to map the characters' hearts and set off the theme here. Color infects the audience's emotions and brings them into the plot of the film. Miss Sister's blue dress in Peony Square represents calmness and coldness. She entered the government's sight and completed the task on behalf of the flying knife door. She is not only well trained, but also calm. This attracted the audience's curiosity about this woman. The subsequent warm-tone dress made my sister look more stable and cold, and tea also represented anxiety and violence, so she attacked Liu Catcher with a sleeve knife. Later, in order to escape, I changed my men's clothes, and it was this similar color that eliminated the gap between the two.

In the second half, the green here is uncharacteristic, but when the young lady and the golden catcher are honest and close to each other in the flowers, the green and blue here are particularly matched and perfect with the sense of the picture displayed by the camera. In the next five minutes or so, Xiaomei and Golden Pig said goodbye. Xiaomei's green dress stands out in the yellow Woods. If the movie ends after arriving here, I believe it will be an unforgettable movie for most people. /kloc-0: 40 an hour, my little sister was shot and killed by Liu. It was much better when Jin came back to see that there was another conflict or dispute between them, rather than when Jin came back and looked at it briefly, he found my little sister lying in the flowers, and then she came back to life and told Jin to turn around. Jin and Liu had a big fight, which caused problems from the beginning. ...

Later, through dialogue, the Golden Watcher learned the truth, and the two men went on to fight. After the government soldiers surrounded the lens of the flying knife door, it actually snowed heavily. Of course, this may indeed be a helpless compromise to reality. ...

The early arrival of the Ukrainian snow season made Zhang Yimou modify the script in advance, which led to the disconnection between this paragraph and the previous plot. However, in Zhang Yimou's shot, the white snow all over the sky also gave the film a romantic and sad color, so there was a scene in which snow fell from the sky and covered the little sister. The next big scene, orange, yellow, green and black cross, then there is heavy snow all over the sky, two people are fighting, and gradually the color of the earth is covered with snow. This indifference and sadness infected the audience. If the lens at this time is supplemented by the scene of officers and men surrounding the flying knife door in heavy snow, it may add more meaning, and the disconnection between the front and the back will not be so serious, but the snow battle at the end lasts too long. It caused the foreshadowing and narrative to be completely out of touch, and the two people here completely became fighting for the sake of fighting. When shooting a close-up of two people fighting, the surrounding snow-covered scene naturally blurs into a background board, and the contrast of one blue and one dark green used by Zhang Yimou is more aesthetic and visual impact in this scene.

Here, Zhang Yimou covered all the colors with snow through the lens, creating a state similar to returning to nature. In the plot, the play is used to try to cover up the problems in the plot. It can also be seen that it is a helpless response after the script is temporarily revised and compromised. However, if the plot here is set up with a little care, it will not be spit out for so many years. It takes advantage of the setting that the force of the Golden Catcher is not as good as that of the Liu Catcher in the former case, so that the little sister can be resurrected here to save the Golden Catcher, perhaps to earn the tears of the audience. At the end of the film, the plot lets the young lady throw a flying knife, save the golden catcher, and die in the snow because of drawing a knife. The scene here changes rapidly, and the advancing lens reflecting the state of the three people also makes it more difficult for the relationship and logic of the characters to be self-consistent. Although the repeated jumping at the end of the film increases the artistic conception and aesthetic feeling of the film, the film is abused because of this ending, and the score is very low. Although everyone is pushing the flowers outside the wall, it is undeniable that "House of Flying Daggers" is still Zhang Yimou's representative work with both practicality and beauty in color.