If the story is told in a different way, "Nie Yinniang" will not only not be obscure and difficult to understand, but it is estimated to be very commercial: Nie Yinniang, a Taoist girl who has returned from school, has come down the mountain. Zhen Huan, who was torn apart by each other, also controlled the political structure of the separatist town, and finally competed with the master. In the whole play, the sword is drawn and the sword is drawn at any time, and the family and the country are feuding. If the director is a little ruthless, he will shoot a group gymnastics-style army to suppress the situation, and make a little collective horse shock. "Nie Yinniang" will upgrade the Tang legend epic in minutes blockbuster.
But, what's the point of that? If the ceramic bowls for dinner are broken, buy two more, and the official kiln porcelain handed down from the family will lose one if one is broken.
In fact, I personally don't appreciate the overflowing sense of superiority in some movie reviews. If you don't understand "Nie Yinniang", you are LOW. You don't have enough time to worry about stocks these days, and you are asked to calm down and read a movie. Reluctantly; besides, it is useless to advertise a high class by watching a movie. However, I can't understand the courage of the abusers, "I am ignorant, I am fearless and have to shout loudly." If you don't like it, just walk away. If you don't understand the truth, read it again. I've never had the nerve to say anything about not coming to Brahms.
There are definitely obstacles that "Nie Yinniang" sets up for the audience. The first time I watched "Nie Yinniang" was in the media field in Cannes. I was completely unprepared when I entered the theater. I was shocked by the black and white images at the beginning, and I hurriedly picked up my reading skills in classical Chinese halfway through. Acknowledging the whole, the discussion in the plot part of the theater is basically focused on "who is he", "who is she" and "where is it"? After re-reading the news and checking the information, the whole story line was sorted out. If you don't have a certain amount of historical knowledge, and you don't have the habit of appreciating literary films, it's a bit too much to be able to taste the beauty of "Nie Yinniang" at one time.
Even so, the strong visual style of "Nie Yinniang" cannot be ignored. What you have seen before is a story, at least this time it is a movie. The helpless struggle between individual fate and the crisis of the times, Nie Yinniang's repressed emotions in "Qingluan Dance Mirror", after watching the movie for the first time, the atmosphere I feel is actually more than the details, and the most shocking thing is that the film's image lines are tightly compiled. It presents a seamless Tang style and ancient rhyme: the frontier, pastoral, palace, mountain and wild styles are all available, and even Ni Dahong is photographed like a portrait of Yan Liben. These are enough. I don't believe that foreign judges like Jake Gyllenhaal can "understand" more than I can: the best director award is the most appropriate respect they can give to "Nie Yinniang", "Unconsciously aware" is probably the most appropriate reason for the award.
With the foundation of the first brush, and the necessary conceptual tutorials, after the release of "Nie Yinniang", I really saw more details. After reading all kinds of movie reviews and interpretations, the fun of watching movies will be a few more important. An ingenious way of art film is to weave tight seams in the details and leave blanks everywhere in the macro, which not only has the texture of life, but also gives the audience unlimited brain space. The director has thousands of mountains and rivers in his chest, and only shows you the cliffs and trails. And this is not the law of our life: we live in a part, feel in a part, joy, anger, sadness and joy are in a part, and try to piece together the whole picture of things through incomplete parts, and after years of looking back, we can roughly see a person or a person. The outline of the incident, of course, is not helpful, and it must be a lot of emotion.
I have always felt that for the author's film, how much the audience accepts and feels has nothing to do with the creator, it all depends on personal fate and cultivation. For example, the production of the film is exquisite, and there is a source for every needle and thread. As a foodie, I have noticed the details, but the fruit in the film is only guava pomegranate. There is an interesting film review. It is said that Qingluan dancing in the mirror is the artistic conception of the film, and self-examination in the mirror is the main theme of the film. Even Tian Yuanshi looked in the mirror and saw several contrasting meanings. I think it is quite reasonable, but after watching Hou Hsiao-hsien's interview, he Not positively affirmed. The viewer gets more than the director. This means that the film is self-contained and has life. The speaker has no intention, and the listener has the intention.
As far as I am concerned, there are two scenes that I watched more and more with relish. One was when Nie Yinniang listened to Tian Ji'an telling Hu Ji about the past. In this scene, the light and shadow and the lines are perfectly coordinated, and the artificial control is between the vagueness. Tian Hu's dialogue was hidden behind the half-lifted and half-closed curtain, which should be Nie Yinniang's subjective perspective. Interestingly, who was Tian Ji'an addressing? It's Hu Ji, and it's Yin Niang outside the curtain. With his intelligence and thought, he really can't guess that there is someone outside the curtain? Tian Ji'an recalled the phrase "indistinctly, there was a gaze that never left" when he recalled his childhood fever. What an inadvertent "coincidence" is this line. Orchid is the love in my arms, and Yinniang is a past event. This narrative is not like nostalgia, but more like farewell. The so-called childhood sweethearts are evocative, and most of them are self-exaggerated memories of the lover.
In another scene, Tian Ji'an was furious after learning that Tian Yuan's tricked Hu Ji and asked the teacher for the crime. Difficult to leave, Tian Yuanshi continued to calmly order to clean up. Immediately following the scene, Tian Ji'an explained to his subordinates to exile Nie Feng. Not to mention the main plot, the interesting thing is that the prince seemed to be sitting beside Tian Ji'an inadvertently before. The essence of the political marriage between the Tian and Yuan families, and the details of each other's efforts to compete with each other are presented lightly. Who was going to kill Nie Feng, whether it was Tian Ji'an or Tian Yuan's, or Tian Ji'an's conspiracy to disclose it to Tian Yuan's, there were many possibilities.
There have been too many comments on the interpretation of "Nie Yinniang", and if I still write something, it is probably equivalent to a note. The older you get, the more you like your favorite movies and other things, the less you like to use big words to build things up, and you will be very happy if you can feel one or two points.
When I come across a movie like "Nie Yinniang", it is fate to watch it or not, understand or not understand, like it or not. The industrial foundation is good, and the attributes of movie products are becoming stronger day by day. From light luxury products to daily necessities, we are used to waving 20 yuan discount movie tickets and shouting that we are God, and we are used to being pleasing and satisfying as "consumers". But hey, "being in a busy city, hiding in the rivers and lakes", this is probably a knight who is hidden in the city. A director is willing to seek for Daoliang, take some inner words, not just perfunctory you and only say what you like to hear , is already the greatest respect for you in this era.
JJ: I think big directors like Hou Hsiao-hsien don’t really care about evaluations and comments as much as you think, both good and bad. Also, I suddenly remembered that there are some Brahms I can still appreciate, such as his "Lullaby".
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