The martial arts scenes that are just a little bit of water, and the plot is intermittent when you want to talk about it. The lines are a few vernacular and obscure classical Chinese are dominated. "It is difficult for ordinary people to digest this bowl of rice easily. In fact, Director Hou deliberately left the audience more subtle space for self-understanding, taste and association. The seemingly inexplicable abrupt end is sometimes a more ingenious continuation and narration. Indispensable features and elements have produced a unique image style. When many filmmakers were helpless, forced to waver and compromise one after another, Hou Hsiao-hsien was still the director Hou who "doesn't care about the audience at all".
Dressed in black, taciturn, silent, calm, and extraordinary, she is free from the edge and lonely, she comes and goes without a trace, has her own judgments and ideas, and does not kill innocent people indiscriminately and righteously , don't ask about complicated world affairs, don't walk in the muddy waters of rivers and lakes, "Qingluan dances in the mirror, there is no one like it", a line that hits the point in one sentence, hits the bull's eye, and looks ruthless and tender in the heart of Yao Qi (namely Nie Yinniang), she is in The situation in the rivers and lakes coincides with Hou Dao's state in the noble circle. The two are actually very similar, and it is easy for people to have a certain connection. This point Hou Dao also joked many times in the interview.
Nie Yinniang left her hometown since she was a child and lacked the love of her family. Love became a victim of her family. In order to save her life, she had no choice but to apprentice. After training as a top assassin, she was ordered to carry out a series of assassination operations. The master pictured (the twin sister of Princess Tian Ji'an's mother, who later became a monk) ordered him to assassinate his cousin Tian Ji'an, who had a marriage contract and love, but failed to do so, and Tian Ji'an also started a harem. The fight was seen through by Nie Yinniang. Fortunately, even if the young mirror-grinding boy appeared, he rescued his father and uncle from danger, and the assassination ended in failure again. After Nie Yinniang bid farewell to her master, she and the young mirror-grinding boy stayed away from the boring world of intrigue and intrigue. travel abroad.
Seeing the comments, many people said they didn’t understand it. Of course, doing your homework in advance, previewing the script and understanding the relationship between the characters will help you understand the plot and better integrate into the background of the times, but in fact, I think Just like appreciating a long-standing ancient painting, there is no need to figure out the ins and outs of it. By quietly experiencing the charm of the brush and ink, you can feel the author's thoughts and feelings, such as the sad and hopeless tone of Bada Shanren. His style of painting and the simple but not simple demeanor and feeling of his subjects can be understood. I believe that many people today do not know who he is and how desolate his life with ups and downs is. In itself, there are few people who can study and taste his paintings with great concentration, just like many people can't appreciate "The Assassin Nie Yinniang" is a reason, nowadays all kinds of temptations, superficiality and impetuousness, it is difficult to be attributed to calm and patience.
Director Hou is a filmmaker who is very willing to work hard and strive for perfection and autonomy. He cut it all in one go, no matter how much film he spent, including all the scenes where Gao Jie and Dai Liren didn't even show their faces. In the plot, many people said that it is like the interspersed between some fragmentary fragments, and it is completely unconnected. In fact, I don't think it is too difficult to understand. Even if you have not read Tang Dynasty novels at all, the movie is sometimes not an image that you can forget at first sight. It is a powerful tool to stimulate the audience's thinking ability and self-judgment. In fact, Hou Dao threw out a lot of symbols and hints, and many plots do not need to be too explicit. A thin rope connects the characters and plots in the movie with each other. The movie itself is a matter of opinion and cannot escape the word subjective, and the comments of this movie will surely develop into a situation of twofold.
This film is more about artistic conception (Yi Jing), the flavor and charm flowing in the atmosphere and the mirror image. Director Hou continued the tradition of the past. The screenwriter recruited the blood of the Zhu family. The performance like I'm the only one in the idle is quite amazing. Regarding the costumes and set settings of the Tang Dynasty, Director Hou was not sloppy at all. It can be said that he is exquisite to the point. The ingenious arrangement of the camera (the camera is aimed in one direction, suddenly a sound comes from another direction, or a character enters from another direction), the usual techniques on these shots, plus the meticulous shooting in the real scene, make the picture of tranquility and distance beautiful. A new realm and shock has emerged. Director Hou once said: My ability lies in observation and selection. The rhythm and editing of this film are the best proofs. A picture can be frozen over time, a scene that seems to have no meaning. It is placed in front of the eyes as if it is still, and it is difficult for impatient people to understand. They attribute it to dullness and boredom, but they cannot appreciate the tranquility and charm of it.
In the soundtrack, Director Hou abandoned all technical means and used a lot of traditional musical instruments. The antique harmony and the situation of the film complement each other perfectly. In the film, a traditional performance of the Tang Dynasty is pleasing to the eye and has the magic power of unforgettable lingering sounds. It is still relatively low-key, because I hear more of the sounds of nature, and it is always in a vortex and convergence of calmness. This film was shot on film, which is rarely insisted in the noble circle now. Many people It means that I can still see the particles, but I didn't notice it very much because of my poor eyesight. Instead, I feel that the picture is very textured and has a kind of original "true". From the beginning, the black and white picture gradually fades into color, and the looming sense of the lens is the creation of this effect. The rendering of the environment is difficult to achieve with digital photography, just like many people use computers to draw, but the natural touch and response between pen and paper is unmatched by technology. The operation of this movie is very close, the small waves are just as sharp and fast as dancing swords, go out in a swish and take it back immediately without thinking, emotions and motivations are tightly held in the hands and cannot be released. But you can feel their character state and inner fluctuations.
Nie Yinniang is a very affectionate assassin. Under the circumstance that the teacher's order cannot be violated, she sees the young and ignorant child decisively choose to stop, save her relatives in danger, even if she is betrayed, it is still difficult to start, and she also saves her victimized concubine. , She is a rare chivalrous person, seemingly cold-faced and ruthless, but she does not have the ruthless and tacky as an assassin should, a rare existence in a chaotic world, although she will hide her face and cry in the face of the past, falling into loneliness , but it is better to travel around the world than to fight for favor and be killed. Nie Yinniang herself is more like a symbol of no age barrier. Many people can find their own shadow or some kind of admiration and yearning from her. , insist on yourself, your heart is like still water, just like what Hou Dao said, as long as you do what you can do and think it is right, stick to it, even if you are alone all day long, you are not recognized and loved, if you are misunderstood or hurt, don’t go against your original intention. It is impossible to be trapped in the hopeless dead end of the past forever, there will always be a bright way of life waiting for you ahead.
I have seen some precious interviews with Director Hou before and after. He is a very low-key and simple filmmaker. His conversation seems to be slow, but he is actually well-organized and humorous. He is an old man with great personality, opinions and ideas. To be able to make a fortune, bad films to become a river, actors to sell their faces, chasing fame and fortune, and the increasingly impetuous film circle, it is undoubtedly rare and rare to have such a number one character. To be elusive and wandering in the zone, not to follow the crowd and never to compromise, to persevere, not to regret, and to make a movie that is worthy of your own heart is the kingly way. Director Hou has said frankly many times, what if there is no money, what if there is no box office, as long as there are people who really know how to appreciate movies like my movies, it is enough.
Under the endless expectations of everyone, Hou Dao, who has been away from the screen for many years, has been enjoying the promotion of newcomers and worrying about various matters of the Golden Horse Awards. Finally, he works slowly and carefully with his new work "Assassin Nie Yinniang" to debut at this year's Cannes Film Festival , a blockbuster and won the coveted best director, his high requirements for the film and self-persistence are once again awe-inspiring. Director Hou grew up under the influence of a dazzling array of books and various movies since he was a child, and he has long shown his ability to be good and keen on movies. I tried to shoot myself, and after filming mainstream romance commercials such as "The Wind's Treading and Stepping" and "The Green Grass on the Riverside", which had a good response and achieved good results at the box office, Hou Dao, who had tasted the sweetness, was not swept away by the source. The constant stream of fame and fortune swept his head, but he went his own way and devoted himself to another high-quality film form that was more thoughtful, profound, and literary, and then became an important member of Taiwan's new film movement.
For that sensitive and turbulent period, intense mental stimulation and perception will force these restless and courageous filmmakers to respond and resist, just like in the face of the terminally ill social environment and the insensitive mental state of the common people, Lu Xun resolutely decided Just like abandoning medicine and pursuing literature, their forward-thinking and deviant directors also made a strong resistance through the camera, and Hou Dao gradually abandoned business and pursued literature, and his works have had a completely different appearance and connotation since then. Yang Dechang, who has drank foreign ink, has a broader vision and avant-garde thinking, and wants to try his best to overturn and change the outdated old system and social outlook, which is different from his video style and the sharpness and sharpness of the subject. The director has deeper feelings and memories of Taiwan. Through a more down-to-earth but unconventional vision and attitude, he shows the mutual influence and ties between an era, a piece of land, a generation or even a period of nostalgia, which has a profound effect. , Deep and relatively introverted, implicit and depressing emotional betting.
In the period of Taiwan's new film reforms in full swing, Director Hou made films such as "The Man from the Wind Cabinet", "Childhood Memories", "Sad City", "Love in the Wind and Dust", etc. with historical background, historical imprints and personal memories The classic masterpiece, and made a name in the international arena, becoming the leader of Taiwanese film. Times have changed, and society has begun to get on the right track, just like the "special period" of the Crab Country. Inspired by social phenomena, films such as "Red Sorghum", "Blue Kite" and "Yellow Earth" have also been filmed with the brand of the times. It is a masterpiece, but with the changes of the environment, the vigorous development of the market and the change of spiritual needs, they must also make changes accordingly, and begin to plan a series of future theme selection, creative concepts, market considerations, etc. The problem is to choose a new shooting direction. There are not many typical examples. There are people who devote themselves to mainstream commercial films and try to please the audience, and there are those who are slanted and self-appreciated on the road full of experimental nature. "The audience, devoted to their own interests and obsessions regardless of world affairs, shows the greatest charm and possibility of images in the category of art films.
Hou Dao's early works often used some common people who had no performance experience to perform, and there was no performance trace in them. The film situation and story background are perfectly matched. Those who are familiar with Hou Director’s works should know that his works have a very big feature, that is, the use of a large number of long shots, zooming out, freezing, still, and trying to hide the existence of the camera. With the quiet capture and recording, Director Hou once said that a big reason why he is so happy with the camera is not to pretend, but to allow these non-professional actors to devote themselves to the roles and situations more without distraction from the camera. Influence and interference, I saw an article on "Southern Weekend" about the hero Wang Jingwen in the movie "Love in the Wind and Dust", and it was written very carefully. I learned that he had acted in such a movie in his life. He never wanted to be a well-known actor or a star that attracted much attention. This film is completely his true performance. Later, Wang Jingwen gradually moved away from the hustle and bustle and retreated to the mountains. He has an air of elegance and tranquility. It is also very similar to the impression of Hou Dao himself and most of his works.
After the end of Taiwan's New Film Movement, Director Hou began to break with tradition and try different types of themes, such as cross-era romance films, biopics, urban dramas that go to the bottom of Liaojianghu, and heavy-duty period films. In addition to the royal team and actors, I also tried to communicate and cooperate with excellent actors from different countries, but the constant changes are inseparable. The unique taste, breath, self-confidence and charm in Hou's films, which are extremely sophisticated and perfect, run through throughout, dreamy and intoxicating images, and a chaotic and confused life. , Many people often vomit bitterness, and react to Hou Dao's movies like a special effect sleeping pill. It is common to fall into dreamland. It is boring, boring, tedious, slow, and dull. You have to try your best to recharge your batteries and activate your numb brain. Cells can have enough power and ability to digest and absorb. After watching it, it is like peeling a layer of skin alive and exhausting. However, in my opinion, Director Hou's movies are actually very endearing. It seems to be calm and slow. The heavy subjective realism intention and style actually hides a lot of hidden drama conflicts and changes, but it is often hidden from life, so it is taken for granted and hidden in the ordinary, requiring patient taste and analysis, just like a cup of old Chen Old wine, people who don't understand alcohol at first dare not try it easily, but gradually they will become more and more addicted to it, taste its mellow and sweetness, until it is hard to extricate itself and has endless aftertastes. Director Hou's films have this. The charm of
stocks, Hou Dao often takes a casual and indifferent attitude towards the box office. It seems very difficult, but he can still find investment, and there are also certain market returns in some countries such as Europe and Japan. I have always admired Hou Dao very much. Perseverance and spirit, although Director Hou often faces awards and box office in a casual manner, and does not care whether he wins or not or how much he earns, it can be seen from recent interviews with Director Hou that under the pressure of investment, publicity is good. Whether it is necessary, or from the heart, as a filmmaker, I still hope that more audiences will like and appreciate his films, and have the money to prepare for the next works. Just like the precious items that are currently circulating at auctions, most people are often concerned about its market value, whether there is room for appreciation or profitable opportunities, and very few people really understand and study it behind it and cannot be measured by vulgar money. The humanistic value and artistic value of the film, as well as Director Hou's works, I hope that through Director Hou's first domestic film, "Assassin Nie Yinniang", it will arouse everyone's interest and make many of them coaxed by the cinema. The deceived audience gladly put down the rubbish fast food and popcorn movies that are harmful to the body and mind, and watch a really good movie that is worth the price.
PS: Every article here is an article written by me with my time, energy and thought. Those unearned porters and shameless plagiarists of fried chicken, please respect yourself!
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