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1987

Release time

19881June 0/director kloc-0/0

Zhang Yimou, Zhang Yimou.

dramatist

Chen Jianyu Chen Jianyu

Mo Yanyan Mo ... The original works Red Sorghum and Kaoliang Liquor.

Zhu Wei, Zhu Wei

executant

Gong Li Ligong ... My grandmother.

Wenjiang, Jiang Wen ... My grandfather.

Teng Rujun Teng Rujun ..... Uncle Lohan

Liu Liu home ... Father, as a child.

Qian Ming

Zhang Yimou, Zhang Yimou.

Ji Chunhua Chun Hua Ji ... Robber

[Edit this paragraph] The story introduces the story of recalling "my grandfather" and "my grandmother" from a naive perspective.

When my grandmother 19 years old, she wanted to marry Li Datou, who was in her fifties, and opened a shochu workshop in 18th Li Po. According to the rural regulations, the bride will be tossed by a sedan chair, but no matter how the sedan chair bearers toss, grandma never says a word. After my grandmother 18 arrived in Lipo, she had an affair with Yu Zhankao, and Yu became my grandfather. Soon, Li Datou died, and those guys didn't want to do it. My grandmother persuaded these guys and set up a shochu workshop. Bandits robbed my grandmother with three shots, and Uncle Lohan and the guys pooled their money to redeem my grandmother. But my grandfather was angry when he saw my grandmother's messy hair. He ran to find the bald man and put a kitchen knife around his neck. My grandfather didn't stop until the bald man promised not to touch my grandmother with his head. My grandfather sprinkled a bubble of urine in the newly brewed sorghum wine, but I didn't expect the sorghum wine to taste particularly good. My grandmother named it Shi Lihong. When my father was nine years old, the Japanese went to Qingshakou, burning and looting. My grandmother moved the eighteen-mile red brewed by Uncle Lohan who was killed by Japanese devils out for the guys to drink. Everyone went to fight the devils in high spirits. My grandmother chose cooked food to entertain my grandfather and them, but was killed by a machine gun on a Japanese military vehicle. In anger, my grandfather and everyone walked to the Japanese military vehicle with cupping and Lei Chong. The military vehicle bombed my grandfather, who was standing next to my grandmother's body with my father. My father sang a nursery rhyme: "Mom, Mom, go to the southwest, that wide road, that long treasure boat …" Comments on film reviews.

A new chapter in China's film creation in the new era

The new beginning of China's films going to the world.

Like a thunderbolt, it awakens the contempt and psychedelic of westerners for China's films.

Wonderful film review

Red sorghum is a myth and legend. The whole film praises humanity and exuberant vitality with mysterious colors. Therefore, praising life is the theme of the film. "It is to praise life, the infinite vitality of life and the freedom and extension of life through the shaping of characters." (Zhang Yimou: The Director's Interpretation) It is precisely because of this praise for life and exquisite film language that Red Sorghum won the international honor, which is the highest honor that China's films have won in the world so far.

"Red Sorghum" is not a realistic work, nor is it the root of national culture. On the contrary, in this story that connects three generations with the past tense, a personality with future significance is created, which transcends the specific social surface and has the depth of humanity and essence. The theme that the film calls for from beginning to end is vigorous vitality, that is, to promote an undistorted, unrestrained and frank outlook on life. Therefore, the work in front of the audience is not an understood world, but a life ideal of the world. This ideal is in the myth of "sun worship". "Red Sorghum" is different from any previous film reflecting farmers, and its perspective has changed from a traditional praise of the land to a praise of life. The extraordinary characteristics of the story determine the unreality of the narrative, and the location of the story has also been diluted. In the film, the village, the most basic structure of society, was even diluted. All narrative elements and audio-visual elements in the film serve the warm, free and stirring style of this natural life.

Different from the previous exploration films, Red Sorghum also carries the director's thoughts on the theme of life, but it does not completely dilute the plot like the exploration films such as Yellow Land, but directly expresses the director's thoughts with the shock of pure film video language. In this film, Zhang Yimou weaves a complete, beautiful and moving story frame from the actual situation and the specific characters in the specified situation, so that the thoughts naturally overflow through the twists and turns of the story and the actions of the characters. Here, how does the director achieve the perfect combination of the two through specific methods?

First of all, the film itself has a complete story line, but most of this narrative line is completed by voiceover. At the beginning of the film, when it is completely black, the narrative of "I" comes from the vocal cords; "I'll tell you something about my grandparents, which was mentioned in my hometown." This is a viewpoint narrated in the present tense, and this "I" is the narrator of a story here. Because he didn't appear in the story, he should be an objective narrator, but he is the descendant of the characters in the story, which gives him a sense of participation and thus has the meaning of being narrated. Therefore, this view is very strange and novel, which gives the director a comfortable reference when dealing with the whole play, and he is very free and omniscient. At the same time, his narrative characteristics pull the story far away and have the effect of historical alienation. Based on this view, the director explained the fiction of the story in his opening remarks. "After a long time, some people believe that some people don't believe it." So it is very comfortable to integrate the story into unrealistic time and space.

The voice-over appeared in the film at 12. The main plot turning points in the film, such as the relationship between characters, the surrounding environment, and the time transition, are almost all explained by voiceover. For example, the relationship between my grandmother and leprosy shopkeeper Li Datou, Gao Liang's "something congenial", the rules for the bride to return to her hometown after three days of marriage, the killing of Li Datou, the process of kidnapping my grandmother with a gun, the departure of uncle Lohan, the appearance of Japanese and so on. Voice-over also assumes a "pre-narrative" function in this film. For example, when the sedan chair left, the voice-over told the audience that the sedan chair would become my grandfather, which increased the audience's "expectation horizon" and made the progress of the picture story more tense. In traditional movies, especially good passages are lost by voice-over, so the director can enjoy the space and pictures of the movie, and use most of the pictures to show sedan chair, robbery, sexual intercourse, worship of god and total solar eclipse, so that his thoughts can be attached to specific pictures and ceremonies with strong symbolic meaning of life, thus achieving the artistic situation of coexistence of reality and reality. Indeed, the voice-over permeates the story as a dramatic factor in the film, and it "sews up" the past and the present, thoughts and stories.

Secondly, when we face Red Sorghum, we will feel that the whole film is saturated with brilliant red. Red is the color of the sun, blood and sorghum. Here, the director's use of color is highly stylized. At the beginning of the film, grandma's rosy face is full of vitality, beautiful and young. Then, the full screen of red gauze skirt, the warm and full red sedan chair, the sunshine sprinkled on the wild sorghum stalks during the outing, the red sorghum wine like red rain, bloody human flesh, the whole film was shrouded in red. The director's choice of this tone almost completely deprives us of our attention to the plot of the play and enters a pure emotional experience in a specific modeling space. This is a yearning and praise for the perfect and free natural life. This is not a completely realistic representation of time and space, but the spiritual externalization of our inner vitality. At the end of the film, in the mysterious total solar eclipse, the expansion of red gained a solidified and almost eternal silence effect. Black and red sorghum stretches and flows, filling the whole screen space, which is extremely brilliant, gorgeous and magnificent.

Thirdly, the film's spatial environment and modeling are trying to find a simple color and a mysterious and spacious space. All trivial contrast, coordination and transition are abandoned, creating a noble, sacred and mysterious living space. The film mainly talks about the two space environments of sorghum field and brewery workshop, which embodies the ancient life consciousness, such as wind and rain erosion, and the round doorway like a castle in 18th Li Po. And that piece of sorghum field, which is left to fend for itself, reveals the sacredness of life. When the picture is full of sorghum fields, it is a huge symbol group of natural life, which is continuous, grand, intense, warm and generous. The three renderings of sorghum in the film all show the integrity of human and natural life. When my grandmother was lying on the altar trampled by my grandfather with tears on her face, four overlapping scenes of sorghum dancing appeared on the screen one after another. Here, the sorghum field is the witness of the birth of life. In the scene where the Japanese army forced people to trample on sorghum, they felt the shock of life being destroyed. At the end of the film, my grandfather and my father stood in the red sun like clay sculptures. Facing the high-speed flowing sorghum lens, what we evoke is a kind of confidence in life and a tribute to a warm and tragic life.

Of course, the ideological connotation and implication of Red Sorghum are still worth discussing, but there is no doubt that it will go down in history as a masterpiece of China's films.