Plot Analysis: Love between Sanhe Great God and Foxconn Female Workers

Xzavier 2022-01-13 08:01:57

The fans who did not go through the personnel thought that the various fragments of "A Fei's True Story", Leslie Cheung's profile, and Tony Leung's long shots, constituted a beautiful and floating love story, probably at the moment of looking at the value of the face. They didn't imagine the abandoned Su Lizhen's mentality of moving bottles in the damp soda factory, and it probably didn't matter that LULU was abandoned by her male partner and returned to the dance hall and hoped to raise money to find someone in a foreign country. Therefore, A Fei will continue to exist, because the silly girls who write all kinds of memorial film reviews are the next Su Lizhen.

Hong Kong in the 1960s was actually a sign of the entire East Asia in the 1960s. When the mainland was indulged in political movements and the confrontation between the Kuomintang and the Communist Party on both sides of the strait, compared with the political tensions and food and clothing crisis of Taiwan and the mainland, Hong Kong was under the British colonial system and became a refuge from disaster. In this situation, Hong Kong has seen a large number of refugees from Hong Kong. In addition to those who have drifted from Guangdong with car tires on them, most of them have the resources to maintain a stable residence in Hong Kong and take root. However, the characteristics of these people are the same, that is, floating, which is A Fei's "flying".

The film said that A Fei's biological mother sent him fifty dollars a month to his adoptive mother. Even if A Fei in the film is about 20 years old, and so on, the time when A Fei and his adoptive mother arrived in Hong Kong should be around 1940 to 1942. In the film, A Fei’s adoptive mother speaks a Shanghai dialect, and her biological mother has probably been taken care of and transferred to the Philippines to lead a normal life. If the baby is abandoned due to an accidental pregnancy, it will not maintain correspondence and spend money to support others to raise children during the war.

Similarly, ALFY’s adoptive mother was able to accept ALFY, who had been abandoned since she was a child. The only reason behind this acceptance was the alimony of $50. This also showed that she had no feelings with ALFY, but a contractual relationship with the original mother. And her ability to accept this kind of adoption also implies that she was born as a kind of homeless person in the same weathered place. After all, A Fei’s biological father does not appear in the film. This is of course not important, because it is obvious that A Fei’s biological mother abandoned the A Fei who was born with him because of being nurtured and whitewashed. In other words, A Fei's biological mother is very likely to belong to the same identity as A Fei's adoptive mother, but she was finally taken care of. Therefore, it is reasonable to speculate that A Fei's biological mother and her adoptive mother met during the War of Resistance against Japan, and they were both women in the weathered place.

(When A Fei came to face life problems, he closed the door and got rid of Lulu for the first time, hoping to counterattack by finding his biological mother. As everyone knows, his fate has been decided since he was born. His biological mother and adoptive mother are in contact with him. The women who are abandoned again have the same fate.)
(A Fei’s adoptive mother told LULU that they were all of the same origin and destiny.)
(Through the English letter and appearance of A Fei’s biological mother, we have reason to speculate from time that during the Anti-Japanese War, he should be a foreigner stranded in Hong Kong like A Fei’s adoptive mother. The Chinese union gave birth to ALFY, and eventually abandoned ALFY and renewed life in the Philippines.)

Therefore, A Fei’s biological mother and A Fei’s biological father;

A Fei’s adoptive mother and the man beaten by A Fei in the dressing room;

Su Lizhen, LULU and Afei,

They are just repeating the same fate, and they have no difference. LULU will become another A Fei's adoptive mother who is yellowish, and A Fei will have a greasy face and will eventually be beaten in the dressing room.

If you understand this, you can understand that in fact, there have been five men in the film, namely Leslie Cheung’s A Fei, Jacky Cheung’s Crooked Boy, Tony Leung from the three-minute camera, Andy Lau’s Super Boy, and one character is Leslie Cheung who used a hammer to teach in the backstage of the ballroom. That man. These five people seem to have different images, but they are actually divided into two groups.

Leslie Cheung, Tony Leung, and the man taught by Leslie Cheung are a group. They are no different. They are all prodigal sons. They are well-dressed and set off at night, with banknotes ready, waxing wax applied, and they are mixed in various dance halls and streets. The beaten man had a face full of vicissitudes, which seemed to be different from A Fei, but it was actually implying that this was just the other side of A Fei's prodigal son. The middle-aged man deceived A Fei's adoptive mother, and A Fei constantly replaced his girlfriend, which is no different in essence, so they are the same kind of people.

(The man who deceived A Fei’s adoptive mother, like A Fei and Tony Leung, appeared in the film as a suit.)
(A Fei’s adoptive mothers are the old Su Lizhen and LULU. When A Fei beat the man, she reprimanded A Fei, saying that she was with him for happiness. At this stage, A Fei still doesn’t understand.)

In contrast, Andy Lau and Jacky Cheung in the film are different. They don't wear suits, and they don't hang around in singing and dancing venues or socialize with different women. As a bad guy, Andy Lau is a man with a legitimate career. It also belongs to the aboriginals of Hong Kong. In the introduction of the crooked boy played by Jacky Cheung, their family also had a garage, and A Fei was just living upstairs in their garage.

Andy Lau revealed the identities of the two when they were walking with Su Lizhen on a rainy night. Su Lizhen moved to Hong Kong from Macau, and Chao Zi worked hard on her own. They both went to school and also witnessed some of their excellent studies. Loved ones. Therefore, they believe in the change of personal efforts. For example, Chao Zai said, "I was going to run the boat, but because my mother was not in good health, so I stayed as a bad guy."

In other words, being a policeman is the second best choice. What he hopes is to run the boat. In the next year in the film, after his mother passed away, he did quit his job as a police officer and went to run the boat, and met again in a hotel in the Philippines. To ALFY. They represent another kind of foreigners who are not scattered in a foreign land. They believe in hard work, trust in order, and work as messengers or running boats. They are not like those from Southeast Asia or those who come to Hong Kong from the mainland who don’t care about their lives, but obey. In keeping with the social order, I hope to make money to get married and have children to support a family. They will not seduce girls, have no routines, but will only talk about life, and even a little boring. This is in sharp contrast with the unidentified stranger like A Fei. It is precisely because of this that they are an unpleasant group of people.

(At this stage, Su Lizhen did not like the stable Hong Kong natives like Chao Zi. The three lines between her and Chao Zi in the film basically indicated that Su Lizhen would not choose his ending at that time.)
(Understanding Chao Zai means understanding a man who can only work hard to earn money and live a safe life. They are discussing marriage, not eroticism and sultry. They are a little boring. On the contrary, they are like an honest taker. Women treat this kind of person. No interest. A Fei, on the contrary, is an elusive prodigal son who pleases women.)

In the film, Jacky Cheung plays the same crooked boy. He likes to be alone. He is willing to wait. He is willing to sit on the steps and wait for her to go out and watch her. Even if he lives in A Fei’s house and drives A Fei’s car, he understands that he is incompatible with these. Hey, because he is not ALFY, he is not a prodigal son, he is not the kind of slutty charming smell, he is a stable man who hopes to live with LULU. It is probably because of this that ALFY will drive his house and car before going to the Philippines. Including LULU entrusted to him.

Jacky Cheung’s image of a man is very sophisticated in another "Men Forty", which is basically because the characters in his film and Andy Lau share the same identity as Hong Kong aboriginals, not Leslie Cheung He plays the descendant of a foreigner who is of vague origin and stranded in Hong Kong. However, like Chao Zi, this is not to be liked by young girls.

(The first mirror reminded Su Lizhen to know each other for a minute at 3 pm on April 16, 1960. On the bed in the second mirror, she forgot how long they knew each other. This implies that A Fei’s identity as a prodigal son. Then, because Su Lizhen raised the issue of marriage, Choose to break up thoroughly.)
(In the film, the reason A Fei finally left LULU is precisely because he is a prodigal son and has no ability to survive. When he chose to be raised by a woman, he could not accept it, so he hoped to go and find a biological mother in exchange for continuing. Freedom to stray. However, life is bound to face the truth, and in the end he cannot continue to be with Lulu.)

Therefore, when Andy Lau was a messenger, of course he knew ALFY. However, the two met at an intersection in the Philippines at night. Out of sympathy, Andy took A Fei, who was drunk at the intersection, back to the hotel, but he refused to admit that he knew him. Instead, he said, "I have forgotten, I don't have a good memory." Of course, this is not forgetting, but a kind of alienation and even slight contempt for A Fei, a native of Hong Kong. There are two types of people. The final destiny is also in line with this identity. ALFY gang up with the person who bought the fake passport because he wants his life, and was shot and killed on the train by the enemy who bought the fake passport. Before he died, Andy Lau's question also hinted at his attitude, that is, asking him "Do you still remember the minute before 3 pm on April 16 last year". This sentence was what Afei used when she teased Su Lizhen. However, he didn't want Su Lizhen to know that he still remembered. Because he is a wandering and helpless footless bird, he will not marry, and he will not have a fixed lover. Of course, this is a portrayal of most of the foreigners who are stranded in Hong Kong.

What can be imagined is another Taiwanese film, "Military Paradise", which more clearly portrays the mentality of the mainlanders who went to Taiwan with the KMT 49 years later that they have no vision and no return. They can only live in military brothels. Day is fun. And all of this stems from the estrangement between their origin and those on the ground. In the era of disasters, there is a foreign land that cannot be left, and a hometown that I do not know where or can not go back to. Flying in the wind, you will lose your life at any time, you will get drunk on the street, and you will die if the train derails. What are you afraid of? They will not accommodate, because accommodation is a problem that the settlers will consider.

(A Fei, who has no money and spares his life, actually belongs to the lowest class of youth in society. Please pay attention to the sitting posture of the two in the camera. Leslie Cheung’s sitting posture is sloppy with his legs on the seat, which represents the image of an indifferent ruffian, even though his clothes are neat and tidy. But undoubtedly he belongs to a kind of prodigal son who doesn’t care about everything. And Andy Lau, although his clothes are stained, but his sitting posture is upright, which is implicitly a way of following order, conforming to the rules, and even intending to give the viewer a sense of
(The super boy played by Andy Lau has a fundamental difference in identity and worldview from A Fei)

The conflict between the two identities eventually broke out on the escape train. The super boy played by Andy Lau completely denies A Fei's values. He doesn't care about the set of words of footless bird, thinking that such words are just lies to coax girls. Behind this of course included his resentment towards Su Lizhen being abandoned by A Fei as a native of Hong Kong. He thinks that ALFY looks like a bird, but "the drunkard who was picked up from the garbage dump in Chinatown". These words indicate the gulf between the two of them. One is a Hong Kong citizen who has a hometown, an identity, and a purposeful and persistent struggle; the other is a prodigal son who has a vague identity, but speaks Cantonese and has an unknown Chinese origin. The whole story can also be understood as the survival and spiritual crisis of Hong Kong in the era of disaster and the aliens stranded in Hong Kong.

It is a pity that young women like this kind of prodigal son, but when they are old, they realize that the average-looking crooked boy and the monotonous super boy are good men who can live together. Greasy faces, messy streets, disorderly and unidentified bottom society and young people. I think this kind of situation will probably only occur in the Sanhe market in Shenzhen. Therefore, there is no need to beautify A Fei too much. If you watch the drama seriously, instead of just indulging in a few scenes and a few lines that have not yet clarified the context, you will understand that A Fei is just an unemployed young man in Sanhe Market, and Su Lizhen is nothing but A female worker at Foxconn, maybe this will make it easier for you to understand the true narrative of the movie.

Related Links "Fallen Angels": The Ultimate Return of Masturbating Youth

If there is nothing wrong, just click "useful"

View more about Days of Being Wild reviews

Extended Reading
  • Alyce 2022-03-27 09:01:15

    Please tell me! I don't understand the power! Because I didn't understand it, I read other people's film reviews, and I read five pieces of sincere admiration and all kinds of literary and artistic fragments and other words! Finally, I choose to say my most intuitive feeling! I did not understand! I feel inexplicable, please give me this right! I just don't want to pretend to understand!

  • Nadia 2022-03-15 09:01:05

    Wong Kar-wai established the style of work, or that he always made the same movie. The unsustainable love, the search for self-identity, and the confusion and alienation of urbanites. Part of the lens is easily associated with [Chongqing Forest] [In the Mood for Love]. Make extensive use of the rhetorical strategy of mirroring and open-ended composition, the blurry air in the light and shadow, and the literary lines. | A footless tribute to Godard [Outsiders] | 1 minute before 1960.4.16.15:00. (8.0/10)

Days of Being Wild quotes

  • Su Lizhen: I always thought one minute flies by. But sometimes it really lingers on. Once, a person pointed at his watch and said to me, that because of that minute, he'd always remember me. It was so charming listening to that. But now I look at my watch and tell myself that I have to forget this man starting this very minute.

  • Yuddy: I've heard that there's a kind of bird without legs that can only fly and fly, and sleep in the wind when it is tired. The bird only lands once in its life... that's when it dies.