As a native of southern Jiangsu, I can't really be considered to have been to Nanjing. Touring the city is at a young age. Growing up, every time I just stopped at the airport in a hurry. My impression of cities and people borders on paranoid. The impression that Nanjing gave me since I was a child was that it was dark and gloomy, with tragic fallen leaves and vicissitudes of city walls all over the city.
I don't like Nanjing. In addition, the Qinhuai River also makes me feel dilapidated, and the Confucius Temple is outdated, although I have never been there when I grew up; although it is the provincial capital and the ancient capital of the Six Dynasties, it has carried the history of my lingering, and there are very beautiful French plane trees.
Later, I read "China National Geographic" and said that Nanjing has always been the capital of subjugation.
I don't want to get too much exposure to this city and everything that has happened in this city.
Perhaps it is precisely because of the previous paranoid impression and deliberate rejection, because of the heavy understanding and the nostalgia for the heavy sense of history, "Nanjing! Nanjing! ' was another attraction for me.
I vaguely remember "Nanjing! Nanjing! "When the scene of the film was revealed, I didn't have much expectation for this film -- Gao Yuanyuan, Liu Ye, Qin Lan, Jiang Yiyan, Yao Di... These youthful faces should stage a romantic drama that exudes human brilliance in such a heavy history. I have reservations.
Lu Chuan finally cut out Liu Ye's 8-month drama, including his love scene with Gao Yuanyuan.
I was finally attracted, perhaps because of the black and white film, perhaps because of the hand-held shooting, perhaps because of the magnificent and unique perspective, or perhaps because of a certain word from Lu Chuan.
I know that my crying point has always been relatively low, and I am not afraid of such a film. So I asked a lot of people to watch it together. In that case, I can try my best to hold back the crying. If it fails, I can still find someone to talk to.
There was no crying in the first half, just depression and numbness. I watched so many of them. They were dark, many times more than the Japanese, but with numb faces, they were mechanically dialed into the warehouse that was about to be ignited, and went to the execution ground under the muzzle of the machine gun. I didn't want to cry, just a bout of sadness - why not resist.
In fact, it is not that there has been no resistance - the remnants of the German tank have been hit until they run out of ammunition and food, and finally the Japanese army burned them to death with gasoline bombs. ——This is a true story told by Lu Chuan. I especially like Xiaodouzi, who is wearing a big military uniform. He smiles like a sunflower and holds bullets in his small hands. What impressed me even more was the athletic Liu Ye, who sat silently, suddenly smiled helplessly, and said to everyone: "I can't hold it anymore, let's go..." The
remnants shouted at gunpoint, "Long live China, China. Not to die!". At that time, I thought angrily, why did I go earlier, why didn't I give it a shot, and rubbed my eyes.
In fact, this is a terrible herd mentality. If the people in front of you are all numb and desperate, you can only be silent and go to a cruel death. But as long as one person stands up, the power of following the crowd will still be amazing. It takes unimaginable courage to be the first, to act before hesitation and hesitation.
So Lu Jianxiong didn't say a word, but he actually shouted "Long Live China" the moment he stood up; so Xiao Jiang was calm, and the raised hand was actually a great courage and dignity.
The most imposing shot - it was originally the slender back of the Japanese officer, the military coat fluttered in the wind, and the camera moved up, showing the whole world of corpses in front of him.
Tears began to fall. When the Japanese army broke into the refugee camp to capture Mrs. Tang, the innocent and beautiful little girl went to grab her mother's bad guy's clothes and was hugged and thrown out the window. The moment she stood on the window sill, her eyes were still flickering, and she didn't know what would happen next.
The closest one is Tang Xiaomei singing Liang Zhu in the refugee camp, Yue Opera in Wu Nong's soft language, familiar tunes and accents. Surrounded by children learning to sing, temporarily forgetting the fear of children learning to play. At that moment, I suddenly felt that Nanjing was very close and warm, and the darkness was warmed by the light. - I've always been homesick.
The most shocking part was the sacrificial dance at the end - I couldn't take my eyes off it, it was really nice. But the more beautiful it feels, the more sad it is. Because they are offering sacrifices to the generals who slaughtered my compatriots; they are dancing, dancing on the ruins of the broken city of Nanjing. Lu Chuan said that he must film the cultural dance of the winner on the ruins of the loser, because this phenomenon has been maintained until now.
When I walked out of the theater, the first poem that came to my mind was "Jiang Guo, it is quiet." At that time, I also wondered why it wasn't "The tide hits the empty city lonely back", why not "Come over the parapet in the middle of the night." Obviously the previous song "Dark Fragrance" is irrelevant. But in the face of the silent auditorium, the memory of black and white film, and the close and distant Nanjing in my memory, these two sentences are just right.
In the end, we spent the whole afternoon eating, feeling - this is a really good movie.
Most of the depression has already been expressed, but I still wrote two of Nanjing's seven musts: I
dare not dream in seventy years, and the stone city is desolate under the moon. Huangquan Biluo fainted miserably, and Wu Nong complained softly.
Candles are raining at night in the old Qinhuai, Xiaoqu Youcheng is full of national grief. Who has danced on the broken wall of the cold river? Mo Dao is more sentimental.
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