At that time, I was in college, and I was a young literary man waiting to be fed. I wrote poems, novels, nibbling on tomes, and when I had fun, I used my computer to read discs. Following Yasujiro Ozu, Akira Kurosawa, Nagisa Oshima, Takeshi Kitano... I saw Taiwanese directors all the way, first watched the murder of a teenager on Guling Street, and then began to dig out Taiwanese movies to watch. I have watched almost all of Hou Hsiao-hsien's films, and my favorite is "The Man from the Wind Cabinet" - this must have something to do with me being a young man who came to Nanjing from the mountainous area of Henan.
Director Hou's films are very literary, and they always make young literary people feel close. I remember that people who write around like him. In my humble opinion, Kufang Gao Soma is the highest level, and the form of the work is second. This kind of film is no different from a literary work.
It's 2015 now, and I can actually see Director Hou's film in the cinema, which makes people feel very magical. Hou Dao did not put it on the shelf and waited for his ascension. "Come down from the sky and show us his ass" (Henry Miller), which is very face-saving.
The movie was done decently. Not bad at the box office, not shameful, it's a good movie. That disc shop on Changjiang Road was doing so well back then, as long as those young people didn't die, they would all come to see it, right? There are more disc stores in Shanghai than Changjiang Road, and it is better than Changjiang Road. There must be many die-hard young people, right? IAPM Paragon is such a small hall, which is almost full. I also met an acquaintance, which I think is not bad.
I think more, I think as long as the film school is still open there, as long as there are students who want to study this major, there must be such a serious film for them to learn. Oriental art, you can't learn just by looking at Fellini. Look at how Hou Dao's lines are written, how the story unfolds, how the characters are shaped, the costumes and utensils of the late Tang Dynasty people, and how people today use scenes to reproduce the grandeur of the Tang Dynasty.
As soon as a bird's-eye view of the city of Hangzhou in "The Taoist Descends from the Mountain", everyone will definitely think "Ah, what a fake." Hou Dao was not so shabby and resisted. I paid attention to every detail, props, pictures, scenes, background sounds, lines, whether there are any language problems in classical Chinese, whether there are any other words in the subtitles, whether Shu Qi's belt head is facing down, whether Zhou Yunhuji's brow printing is wrong? Will the scenery from Shennongjia make it particularly southern... I can only say, Hou Dao's conscience. Tickets are only 50 yuan, I have nothing to say.
The moderation of all things is always fascinating. Moderation and white space, Taoism and emptiness, lobbying and silence are almost the core of Oriental beauty. So Shu Qi also covered her face when she cried. So Zhou Yun was so angry that she just put on a pair of earrings silently. So the person who talked the most was first stabbed with needles by Zhang Zhen K, and was almost buried alive. In the end, he didn't speak for the whole movie. So the Japanese who didn't have a single line held the beauty back...
I don't know if the Taoists were killed too much after the founding of the People's Republic of China. I have never seen Taoist priests filmed well in mainland film and television. The characters were chosen carelessly, and there was no immortality at all. In Jin Yong's drama, he was called an old man's nose, and the Taoist priest lost his basic demeanor when he went down the mountain. The Taoist nun in Nie Yinniang is the first reasonable Taoist priest I have seen in so many years. The actors were well selected, the props were exquisite, the scenes were exquisite, and the character creation was very successful. In the end, the Taoist nun stood on the top of the mountain, and the clouds slowly drifted over, which at least revealed the charm of Taoism. Taoism, the shamanism of the Han people, was born and raised on this continent and gradually perfected and formed. looks awe-inspiring.
The sense of heaven and earth is well controlled. As long as the cinema is quiet, it is easy to be hallucinated. The smoke is cold and the water is full of sand. Nie Feng glanced at his daughter and took a sip of medicine. The mirror-grinder walked out of the camera for 5 seconds.
In one place, I was in a play, but the sound of the hooves was louder when I was chasing and killing, and I woke up to the fact that I was watching a movie.
Infrequent film and television dramas will ignore the simple fact that "people are in the environment". You know how to poke a big face at every turn. Nie Yinniang is not like this, his characters and the environment are well combined, this is something unique to the East. Western religious buildings mostly use stone, which is always majestic and magnificent, in order to reach the sky. Orientals mostly use wood in their buildings, which is a part of heaven and earth, and the two are blended together. Hou Dao's slow-moving shots are not intentional, but "fixed", so that some aesthetic feelings can be fermented and realized. quick? How can it be fast? Every move may cost you your life, slowness is the embodiment of wisdom.
The Tang and Song Dynasties are a piece of history worth boasting about in our East Asian continent, just like the Warring States period in Japan, the youth of life. This position is also the G-spot of many people, Tang poetry, Tang legend, Song poetry, etc., one click has a climax.
But the Tang and Song Dynasties are not easy to photograph, and there are not as many historical and cultural relics preserved in the Ming and Qing dynasties. Time and space are too far apart, pavilions and pavilions are annihilated, and Tang buildings on the mainland are now as few as ghosts. So the macro things can be grasped, but the details are not so easy to restore. To put it bluntly, Tang and our current group have nothing to do with it. Moreover, the late Tang Dynasty was a very strange era. The imperial power was not clear, there was no major chaos, and the small chaos continued. In fact, the world has been divided. Today's people only like to talk about unity and power. It is not good to talk about such an era, but it is charming. , often times like this have charm (as long as they survive).
The legend of Tang is written in classical Chinese, with the author's signature. It is originally something that literati play with. It is light and mysterious, and it is most suitable for extension and perfunctory - there must be some people who are confused. After all, the movie is nothing more than a few good literati brain supplements. Looking forward to seeing more movies in this regard. Of course, Hou Hsiao-hsien is not the only interpretive authority. If he thinks he can do it, he can go there.
I hope there will be more films like this, and then there will be a special place to put them: A buddy next to me asked a girl to watch, but he couldn't understand it, and he had to ask the girl what she meant - it annoys me. Had to shut him up. Quickly and quickly, he silently drew a little man on his back in his heart. Then in the second half of the journey, he was playing with his mobile phone, sleeping, and slept with the chirping of the autumn wind and autumn insects.
I was very happy to see Acheng's name at the end. Assassins have to be like Yin Niang, they can act, express words, and give us a lot of words.
Zhang Zhen's acting skills are really not good... I know that blowing beard and staring, but Zhou Yun's acting is the best... She looks like a big house in a feudal town, and has a lot of life.
The end of the movie is also very good, Shenlong sees the beginning but not the end. From the content, atmosphere, pictures, words, to the length, it is very precise.
Don't pretend, you will miss this movie in the future. Director Hou is so old. Check it out.
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