Introduction to anxious to return

Introduction to anxious to return | Appreciation | Reflection

1979 color film 1 1 copy

Produced by China Bayi Film Studio.

Director: Screenwriter: Li Photography: Yang Guangyuan Chen Main actors: (played by), (played by) Ma Zhigang (played by Qi Shu), Lu Yong (played by Dong Laoli) and Xu Yao (played by Chuan).

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1939, Northeast China ravaged by Japanese imperialism.

A team of northeast anti-Japanese allied forces marched in the snow-capped mountains and dense forests, heading from northern Manchuria to southern Manchuria. The blockade of Japanese devils and harsh natural conditions make this team face a severe test.

Company commander Wei Desheng is a veteran in his thirties. The team was blocked by the Japanese puppet troops. When rushing out of the jungle and crossing the glacier, Wei Desheng was shot in the leg, poured into ice water and drifted down. Wei Desheng was captured and lying in the puppet army post. A puppet army veteran bandaged his wound to cover his escape.

Wei Desheng is looking for his own team. He meets a group of old gold prospectors who have temporarily settled here. Wei Desheng has established his prestige in this gold rush gang, especially for the manned old chief. The old man is looking forward to taking a few taels of gold into the city to do small business for a year or so, while Wei Desheng wants to get an ID card "national hand account" to join the team.

In order to keep it, Qi Shu tried his best to buy him a "national hukou" and gave him a cotton-padded jacket with gold sewn inside.

Wei Desheng was caught by Japanese cavalry, tortured and then sent to a coal mine to dig coal. Digging coal under the whip of a Japanese supervisor is a hell on earth. Wei Desheng found an exit to the wild in an abandoned tunnel in a dangerous area. He killed the Japanese supervisor and led the prisoners to escape from the abandoned wellhead.

Bullets flying, Wei Desheng escaped from the tiger's mouth and ran into a translator riding a bicycle on the highway. He bribed the translator with gold sewn in his cotton-padded jacket, and the translator let him go.

Wei Desheng struggled on crutches, and then stumbled and fell. He crawled in the ancient forest. He climbed to the stream and lay quietly. ...

Yu Zhen, a young widow, took her son to fetch water by the stream and found Wei Desheng fainted by the stream. Yu Zhen dragged him home. "Burning for seven days and seven nights, like hot charcoal ... arms, wrists, poking the lid, glistening bones are all ground out! The gunshot wounds on the legs are all rotten! "

Wei Desheng's injury was treated by Dong Laoli. He bowed to Wei Desheng who woke up. "In addition to the mountain god ye, I didn't give a person a yi for thirty years! Good boy, this is not for you, this is for you to die instead of fucking conquering the people's army ... "

Yu Zhen sat at the door, holding her shoes and telling each other about her and Wei Desheng's life. It turned out that after the September 18th Incident, Wei Desheng was dragged to be a groom by the Japanese devils, who blamed him for not caring for animals and tied his clothes to a tree to feed mosquitoes. The guerrillas saved him, and since then, he has made the team his home and is determined to resist Japan.

Under the careful care of the earthquake, Wei Desheng recovered well, and Zhalie became his inseparable partner.

Wei Desheng basked in the sun outdoors for the first time after his injury and said to himself, "I really want to smoke a pack of cigarettes!" "Yu Zhen found him a tobacco pouch, tied the post with chopsticks and lit it with charcoal. Yu Zhen said, "I prepared this for his father. He's useless. He's gone. Then he almost burned it for me! "

Wei Desheng: "No, keep it, at least it's an idea."

Yu Zhen: "Where ... just accept it, at least it's a thought!" " "

A flock of geese flew by, and Wei Desheng missed his team.

Yu Zhen took Wei Desheng to fetch water, where Wei Desheng was saved. "If it weren't for you, I would have fed the blind. I can't repay this kindness! "

Yu Zhen: "Then you can pick me up twice a day, pick up my son to marry, pick up my daughter to go out and pick me up for life!" " "

Yu Zhen's father came back, and he is still the same. Dong Laoli proposed to Lao Qiping for Yu Zhen. When the old man knew that the object was Wei Desheng, whom he highly valued, he was extremely happy and readily agreed. He wove a happy dream for his old age.

But when the question was on the table, Wei Desheng said, "I have to go. I must find my team. "

Qi Dabo flew into a rage and bowed his head and cried, and Dong Laoli felt ashamed. Wei Desheng said that he had an earthquake in his heart, but he vowed that he must drive the devil away first.

Dong Laoli made a compromise and became a pro-leftist. However, Wei Desheng still disagreed: "I stayed in the gun all day. Who can guarantee that anything will happen ... If you want to get married, you have to finish the devil! "

Wei Desheng finally persuaded Yu Zhen, and Yu Zhen also persuaded her father. She swore: "I will wait for you for three years, five years, eight years, ten years ..."

On the jungle trail, Yu Zhen bid farewell to Wei Desheng. "Remember, when you really can't find the team, you must come back!"

Seeing Wei go far, I couldn't help crying, holding the tree and sobbing.

A flock of geese flew from far away.

Distinguish and appreciate

Wei Desheng, an old soldier of the Anti-Japanese Allied Forces, was wounded and captured in the battle. He went through all kinds of hardships, withstood the severe test of form and appearance, and still returned to his team with perseverance. He first met a group of gold diggers, and planned to work for a year and a half to get some gold and live a well-off life. Wei Desheng is unmoved by money. Later, the Japanese arrested him, tortured him and sent him to a coal mine to dig coal. Wei Desheng escaped from an abandoned well and passed the test of narrow escape. Finally, he was carefully cared for and cured by a young widow, and they had a strong love. However, Wei Desheng still insisted on returning to the Anti-Japanese War and stood the test of Beauty Pass. Singing the praises of revolutionary heroism is the central theme of films in 1950s and 1960s. Anxious to return stands out because it is faithful to the truth of life and history, and it has broken through many extreme "left" curses in King's Landing movies. There are patriotic and bloody people in the puppet army, and the amateurs such as Lao Qiping and Dong Laoli who are looking for gold, hunting and digging for ginseng are also just patriots. Especially the love descriptions of Wei Desheng and Yu Zhen are a rebellion against feudal asceticism. The script of "anxious to return" was completed on 1962, and it was ready to be filmed, but it was blocked. 17 years later, the film was completed in a new era. The ultra-left ideological trend, which originated in the early 1950s and intensified thereafter, hindered and stifled the healthy development of China's film art, which is a typical example.

Anxious to return's artistic courage, after all, can't completely isolate it from some pollution of the ultra-left ideological trend of that year. In the first half of the film, Wei Desheng passed the money barrier and the life-and-death barrier, and more or less showed his intention to get to the point, with little originality. The essence of the film focuses on the love description in the second half. Wei Desheng's character has been deepened and sublimated in the fierce and repeated conflict between emotion and will; The appearance of Yu Zhen added a dazzling female image to the screen gallery in China. The charm of this love lies in its naturalness, simplicity, delicacy and profundity. The germination, progress and expression of love are typical Chinese styles, which embody the cultural implication of China and blend China's aesthetic taste.

Out of sympathy, Yu Zhen saved Wei Desheng who was dying. Wei Desheng's national integrity of "preferring death to surrender" and his heroism in all kinds of unbearable sufferings touched Yu Zhen's heart, and her emotional development was very hierarchical. Yu Zhen is Wei Desheng's savior, and her own virtuous, gentle, dignified, affectionate and handsome temperament makes him hard-hearted. How can she not be emotional? China people are particularly cautious and reserved about the love between men and women, and their expressions are often circuitous, implicit and ambiguous. What's more, Yu Zhen lived in a remote mountainous area far away from the trend of personality liberation in the 1930 s and 1940 s, and was also a young widow imprisoned by feudal ethics. Wei Desheng, who was determined to return to the Anti-Japanese War, dared not express his love or accept it. People are not stones, and turbulent feelings will always leak from the dam of thoughts, although the information transmitted is more indirect, subtle and euphemistic.

Binding columns is a bridge to transmit information in the early stage of their relationship. Zhu Tie took out the eggs from the henhouse and gave them to Wei Desheng. He incoherently stopped him from leaving the hospital bed: "My mother asked me to watch you." Wei Desheng told the child a story, hugged him and kissed him, expressing his heartfelt love. Is Yu Zhen just concerned about the patient, or is there something else to hide? Does Wei Desheng just love children or love me, love my dog? It seems that there are both. Emotional information is vague and accurate.

The direct test of first love takes the tobacco pouch as the medium. Men and women don't kiss each other, and China's moral code blocks the direct channel to talk about love. Lyricism by borrowing things has become a common lyric way in real life and even literature and art in feudal society. Yu Zhen gave Wei Desheng a tobacco pouch as a gift for her late husband. "So, you can take it. At least, this is an idea! " On-site processing is natural, seemingly handy, without traces; The love message revived by the earthquake is clearly expressed, measured, affectionate but not frivolous.

When Yu Zhen took Wei Desheng to fetch water from his rescued stream, it aroused his gratitude. Yu Zhen took the opportunity to guide this gratitude to the love between men and women: "Then you can fetch me water twice a day." Wei Desheng: "It's easy! I'll pick it for you twice a day! " Yu Zhen: "Pick a son to marry a daughter-in-law, pick a daughter to go out, and give me a lifetime!" " "Step by step, one sentence is higher than the other." Picking a son to marry a daughter-in-law "still has a realistic basis." Picking a daughter to go out "is a myth. She has no daughter yet! "Give me a lifetime" will make the finishing point. However, this frank and clear expression of love is still implicit. Language is personalized and tasteful.

The humanization of nature and the objectification of human feelings have been fully developed in China's traditional aesthetics. Anxious to return uses a variety of film language elements to embody this aesthetic implication. Yu Zhen gave Wei Desheng a special gentleness to carry water. In response, when Wei Desheng made up his mind to find troops and Yu Zhen's vision of "picking them for me all his life" was shattered, Wei Desheng came here to draw water again, turned around and poured a bucket of water into the flowing spring. This water is humanized and natural, and it is the gentle objectification of earthquake.

The mutual infiltration and transformation between the environment and the characters' moods is a colorful movement in which anxious to return integrates traditional aesthetics into the film. The first half of the film, barren hills, prison coal wells, torture, slavery, escape, fighting, darkness, depression, people can not breathe. As soon as Yu Zhen appeared, the whole tone suddenly changed, fresh, bright, cheerful and quiet, from hell on earth to Xanadu. The deep and charming moonlight in the stream and the autumn in Shan Ye with red leaves and orange leaves are all saturated with tenderness. There are many empty shots of geese flying across the sky in the film. The wild goose is a symbol of emotional sustenance in China's traditional literature, and a song "Flying Wild Goose in the South" expresses this feeling heartily.

Fly south, fly south,

The geese are crying, and their hearts are broken.

I can't wait to leave today, but I'm looking forward to spring.

I am looking forward to the return of spring.

Today, I went to the Spring Festival.

Hope to return, don't crush your heart,

Don't break your heart,

Just wait for spring to come back.

This artistic conception of blending scenes reached its climax at the farewell scene at the end of the film. Yu Zhen bid farewell to Wei Desheng and embarked on one journey after another. Red leaves, birch forests and mountain roads meander in the jungle in the distance. Wei Desheng: "Go home, the child should find you!" " Yu Zhen: Remember, when you really can't find the team, come back! ""Wei Desheng cut Yu Zhen's hair by hand, and Yu Zhen untied the burden on his back and tied it on Wei Desheng. With tears in his eyes, he said, "I'll wait for you, and I'll be back after the Japanese!" "Yu Zhen bowed his head. Wei held her shoulder and laughed. Why are you crying again? Yu Zhen smiled with tears: "Who is crying!" ! "Wei Desheng turned to the road and helped the tree to look out. When Wei walked away, he couldn't help crying on a tree.

The geese flew by, and the song of "Wild Goose Flying South" sounded again.

This inseparable feeling of parting reminds people of the realm in the West Chamber: "Blue sky and yellow flowers, tight west wind, flying north and south." Who is drunk in Xiao Lai's frost forest? Always in tears. " "I hate being late, but I hate going back to my illness. Long jade is hard to tie wicker, and I hate it in the twilight ... "Wei Desheng and Yu Zhen are certainly not the love of ancient gifted scholars and beautiful women, but there are always some eternal feelings in human nature that transcend the times and classes. The art of profoundly revealing the mystery of this soul with vivid images has long-term vitality.