Yang Dechang's "Terrorist" was broadcast on CCTV Central 6 on January 9th, and the name was changed to "Please Pretend You Are Reluctant to Leave Me" - this is the name of the song sung by Cai Qin at the end of the film. Is it related to whether it is broadcast on the movie channel now? It doesn't make much sense anymore. After all, there are too many resources. I remember that more than ten years ago, even if there was a market for pirated discs, I still couldn't find "Yesterday" directed by Zhang Yang. I started getting excited a week ago. I slept first that day, set the alarm clock, and went to work with trembling all over and dark circles under my eyes. The rarity of resources will make people look seriously, my experience is like this.
I watched "Terrorist" for the first time in 2006. At that time, I was in the director stage, and I watched all of Yang Dechang's films, including "A Day at the Beach" , which was a complete mess (later it turned out that due to poor resources, this classic For me at that time, it was like a spring breeze passing a donkey's ear.) At that time, my evaluation of "Terrorist" was: Yang Dechang was a very ordinary one. Rewatching it twelve years later, it's completely changed.
I think Yang Dechang is a Chinese director who has the essence of French films. I remember that he once discussed with Shu Qi: When you think about something, do you have English or Chinese in your mind? Mine is in English. In terms of film art, Yang Dechang is very westernized. In other words, he established his own film system under the inspiration of French films. In his study, there is no shadow of Chinese films. This is his active choice, just like choosing a tool , he chose the one that he thinks is the most convenient. I have always liked French films. Although most French films are a bit dull, and even some are outrageous, they have one thing in common: behind every film, there is a very solid, A self-consistent philosophical system--even if you don't agree with this system, it is complete, self-consistent, and has its own irrefutable reasons for its existence. It is eye-opening and more forgiving. A philosophical system was discovered, and then there were the shots and the stories. In the Chinese film system, stories and characters are above everything else, not to mention how boring and less changing the value system (Confucian and Legal values and philosophy) behind it.
At the same time, Yang Dechang's film aesthetics are French. He likes to shoot people's reflections on glass. In "One One" , this kind of picture even needs special projection equipment to fully express. Minmin (Jin Yanling) is in Taipei in his office. The glass high-rise buildings in the city center, the bustling traffic on the overpass, and the brightly lit buildings are reflected on a lonely face. This effect is the perfect combination of content and form. The depletion of the heart and the bustling and bustling outside world are reflected in the lens. There are several reflections used in this movie. Zhou Yufen's face appeared on the window, she pushed open the window, and the mirror was connected to the world outside the window. There is also a photo collage of a photo-printed portrait in the wind, and a huge portrait is set off in the wind. When Li Lizhong walked over the flyover in despair, there was a huge movie poster behind him. People are in the movie. His handling of the sound of the film is also relatively "original". Except for "Yiyi", which is more "exquisite", the other films have a very rough sense of the scene of social news.
As I wrote in my review of "A Day at the Beach", each of Yang's films is dedicated to revealing how urban life and modern industrialized society destroys human beings' fragile feelings and buries a lifetime of happiness. This is his "Great Discovery of Life" , one of the philosophical systems behind his films. (And about the different stages of life, about the growth of men and women, Yang Dechang also has unique discoveries and excavations). "Terrorist" is still the same, that's the core, and the rest are some tricks around that core -- those tricks are also very French, and the movie is more fast-paced, more entertaining and more commercial than "A Day at the Beach" Some.
At the beginning of the film, there was a large wave of characters, and it was a very realistic shot. It was like a documentary. When the film passed a quarter of the time, you may not have figured out the relationship between the characters. This kind of complex narrative with many characters is Yang Dechang's best. Love, he's so confident that at last he'll make it clear, remember everyone, and, understand the whole story. This is indeed the case. There are hundreds of characters in "Guling Street Teenage Murder Case", and there are dozens of key expressions, but in the end, the characters are all clear, including Cai Qinyan, who only appeared in the lower body and changed shoes at the door. Mrs. Wang Dog.
The main story of "The Terrorist" is the story of Zhou Yufen and Li Lizhong, played by Miao Qianren and Li Liqun. They are in a period of marital burnout. The woman is a young literary female novelist who is full of romantic fantasies and pursues a free life. The man is pursuing life stability and has a boring and boring character Hospital staff, we know from the following episodes that their marriage was wrong at the beginning. Zhou Yufen married Li Lizhong because her ex-boyfriend suddenly got married and was stimulated by her ex-boyfriend (male classmates were shocked: no one thought she would marry you in the end), and later The ex-boyfriend reappeared, divorced, had a small career (with his own company), and deliberately read her only collection of novels. In contrast to him is her husband Li Lizhong, who has never read a novel written by his wife. He said, I don't like reading novels. His love for his wife is mainly manifested in creating an environment for her that she wants: home arrangement, study arrangement, and, in vain, comforting her: it's okay, it's okay, I can't write it and write it tomorrow. There is no spiritual communication between them, and there will be no future. This is where the woman's despair lies. She encountered a creative bottleneck (the story of her school days was finished, but there was nothing worth writing after her marriage) also because life was too dull and boring. Li Lizhong goes to and from get off work day after day, and goes back to the bathroom to wash his hands.
However, the little people also have the scheming of the little people. The sudden death of the team leader gave him hope of climbing. For this reason, he even framed his friends and colleagues. However, in the end, because of his wife's departure, he was in a mess, and finally lost the promotion opportunity that he regarded as a life-saving straw. Others have no money and have lost the courage to live. Usually, two endings are possible at this time. A leopard becomes a leopard, a rabbit bites someone in a hurry, or commits suicide. These are all possible choices for such a small person. A or B Just a thought. Li Liqun was still very young at that time, but his acting skills were outstanding. He portrayed this little figure, whether it was his eyes, his subconscious movements, or his mumbling monologue.
Another story appears as a sub-line, but it is also very important. Xiaoqiang is the core character of the whole movie story. He is the intersection of all the stories. Because of him, these people have an intersection. At the same time, his story is not just for structural needs. He came from a wealthy family, likes adventure, longs for a free life, works as a freelance photographer, falls in love with a girl in the underworld, and does not hesitate to break up with his current girlfriend. He later returned to his girlfriend and will go to military service and lead a normal life. He and his girlfriend are the prelude to Li Lizhong and Zhou Yufen's life (just switch between men and women).
Most people think that this movie is like the comment of the award-winning novel written by Zhou Yufen in the film: it makes people chill after watching it. Indeed, this is a cold and hopeless film, and in "A Day at the Beach", Yang Dechang gives a very bright ending: the female awakening. This one is a shock, and the awakened women have not actually been happy. I remember that it should have started from "The Age of Independence". Yang Dechang injected new hope into his indifference and shaped the image of Qiqi. So is "Mahjong", leaving room for despair and a bright tail, "One One" continued that hope. So, this movie is in the middle of exploration, and it is indeed the most brutal and grim one. Let's take a look at the song at the end, which can be said to be the best summary:
Please pretend that you will miss me
Please put away your indifference for a while
Pour me a glass of wine as usual
let me enjoy a moment of tenderness
Please pretend that you will miss me
Please put away your indifference for a while
hug me gently hug me
Give me tenderness one last time
I know my dream has come to an end
you don't belong to me anymore
Please keep everything as it was tonight
Tomorrow I will be alone
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