Requesting a film review for "Suzhou River"

After watching "Suzhou River" film review: weightless gorgeous

When watching movies, I often experience the pain of division, between too pale expressions and great conclusions. The gap between, or the split between the painful gesture of lamentation and the boring content, this may be the same feeling that all film critics have when they see a bad movie. No matter how bad the movie is, you have to watch it before you can draw a conclusion. , and then conclude in the agony of division.

What gave me this kind of pain today is the movie "Suzhou River". Speaking of this movie, let me tell you a little story first. When I was a freshman in college, I met a girl and I had sex with her. We were having a good time chatting, and she suddenly asked me if I had watched "Suzhou River"? I haven't seen it, but out of respect for a literary young man, I nodded to her, and then she talked to me about the movie and told me that the director was Zhang Yuan. For a long time after that, I thought I have always associated this movie that I have never seen with Zhang Yuan, and I have always wondered why I can’t find this movie among Zhang Yuan’s works? This misunderstanding lasted until I talked about this movie with others, and I was told that it was not Zhang Yuan's movie, but Lou Ye's. Of course, time will make some harmless jokes. Many people like the Sixth Generation just like me. It probably comes from some artistic misunderstandings. For example, they are underground films. They have won many awards abroad and they have made films. Stunning work.

If this work can be evaluated as stunning, I think I can only be amazed by the director's lack of restraint and overconfidence in the image style. Compared with the narcissism of ordinary people, this kind of overconfidence is just amazing. It's annoying to be like a pretentious person who can't realize his own falsehood. No matter how ostentatious the shaky camera the film adopts, how realistically colored the exteriors are, or how boldly the director handles the narrative structure: letting the camera replace the narrative where the male protagonist is absent, it cannot conceal the director's gaudy and poor imagination. Compared with the Impressionist films of the 1920s and the New Wave of the 1940s and 1950s, Lou Ye wanted people to see his pioneering nature in film form, which has become old and outdated; Lou Ye wanted to make innovative attempts in narrative methods, On the contrary, it highlights his shortcomings as a director who cannot tell stories. The bigger schism is that this movie is too emotional. The idea of ??using a camera to record the entire movie with a male protagonist who does not appear in the movie is too silly, and instead falls into a dilemma that cannot be sorted out. At the beginning of the movie, this The protagonist of the camera was still able to be present, which provided a basic narrative perspective. Later, when he told the story of the motor, it completely turned into a nonsense narrative perspective controlled by imagination, and the camera was not present. The embarrassment of being unable to be present turned out to be a prerequisite for telling the story, so the film had to cover up this embarrassing loophole with the constant narration of the man hidden behind the camera.

The theme of "Suzhou River" is also pale and empty, just like Alain Resnais's masterpiece "Last Year at Marienbad". The movie attempts to explore love through the interpretation of impossible time and space. Such an illusory theme is neither a formula for an idol film nor a true biography of Lei Nai. The film follows the route of Wong Kar-Wai's urban narcissistic love, but it has a bad taste due to the wrong emotions brewing. In short, this love movie is neither profound nor superficial. It is awkwardly placed in the void left by the pale form and empty narrative, and becomes a weightless gorgeousness.