I watched "South Station" twice. The first time was very oolong. I misread the time. I came in an hour late, just in time for the scene where Gui Lunmei went to find Wan Qian. Wan Qian closed the wardrobe door to change her clothes, and Gui Lunmei was reflected in the mirror, wow! Such a neat composition. The first impression of "South" is likely to be this: the lens is exquisite and neat, like picking up a film history-level work, it feels weird and blunt.
It seems to have randomly opened a certain Bresson in the hard drive late at night. You are not in the state, and it is not in the state.
But some things are very moving, you can't tell the cause and effect. There are many "possibles" that can be given rationally, but none of these "possibles" will bring me into the theater a second time. In the last shot of the thigh, I figured it out: it was Hu Ge's bandaged scene. It was so beautiful that I had to watch it again. So beautiful.
When I watched it for the second time, those unknown scenes suddenly became clear in front of my eyes. Suddenly I understood the motives behind those performances, the performances beyond words between the actors' eyebrows and eyes. Although understanding this doesn't make me like Gui Lunmei and her character, it makes me agree with the director's choice of her: the director needs to be familiar with his language and have the ability to understand and understand what he has to convey throughout the story. Utensils of minutiae.
After all, the director has chosen to take risks on the role of "abductee", which requires a lot of energy. From the point of view of the final film, Gui Lunmei very accurately conveyed the details that must be performed accurately; for example, in the last noodle scene, the two people were full of emotions and panicked, it was a very romantic, "time is up" Farewell to death. The righteousness of the rivers and lakes and the love between men and women can only be presented with two bowls of noodles, chili and vinegar, and the gaze of the last two people.
- so fast, so short, so tight
Gui Lunmei showed very well. As the femme fatale in film noir, she's not a vase. Hero movies need vases because men are the only protagonists. And although Liu Ai'ai is also an "unrighteous" person with no morals, she "replaces" Zhou Zenong's weak main room when she needs to be brave. Although she is a frivolous swimmer, she seems to fulfill the romance and friendship of "one day husband and wife a hundred days of grace", and accompanies Zhou Zenong to the last moment of his life. At the critical moment, he stopped all kinds of attachments and complicated emotions about this man in his heart - sacrificed his life, called the police, and used his own wisdom to complete the rotten situation that this group of men could not handle.
Really moving.
"The Party at Southern Station" is a very romantic noir film, anyway, it is fictional, we are in it to have a romantic addiction. It can be said that the whole story is a fictional story distilled from real fragments. The characters are fictitious, because the real desperados are definitely not as elegant and handsome as Hu Ge. But in order to be truly romantic, we need a melancholy male protagonist who is wronged but doesn't open his mouth and just fights with his life.
Hu Ge really paid too much for this drama. When I watched it for the second time, I saw Hu Ge's car accident scar on the big screen. It was right there on the double eyelid. His eyes always looked droopy and not very energetic look. People who have been through car accidents, in this movie that is full of chases and car accidents from beginning to end, how can their hearts not tremble, how can they be afraid of nightmares and not repeat themselves.
I don't know if this is the reason why Diao Yinan chose Hu Ge in the end, but because he valued the real, deep fear in him, that's why he was able to perform such a melancholy, depressed, steady, one-step mistake that turned into eternal hatred, yet very Manly image.
He witnessed everything, but he made a mistake in his judgment and killed someone who couldn't kill and had to lose his life. He lost the opportunity to open his mouth to apologise for himself, and he became a lamb that everyone was sharpening their knives to be slaughtered. His death was utterly tragic, and the fate of death came when he took on all his sins and completely became the supposed heinous and ruthless killer of the "light" side.
So Quentin's evaluation is very pertinent: this is the most beautiful (black) movie in recent years, and the more I think about it, the more I like it the second day after watching it. I think "The Party at Southern Station" really deserves this compliment. On such a fake screen, Diao Yinan boldly uses various realities to construct a surreal dark and rainy night, and without cynicism, the two civilized societies no longer have The chivalrous and courageous, so beautiful.
By the way, finally, let’s talk about Liao Fan,
It was only in this film that I became accustomed to Liao Fan's appearance. He looks so fierce and handsome, it is very suitable for the role of Jia Wei in "Les Miserables". He is a leopard, and in this life-and-death drama, he can be fierce without hesitation, because he is safe no matter what. He was the nobleman in this hunt, the most reasonable man with a gun in his hand. Wuhan, Wild Goose Lake, is his zoo. Humans have entered modern society, and animals are all ornaments and objects of protection, so let's hunters. So Liao Fan's whole person's fierce hormones and adrenaline are soaring, I hope he is very cool. It's really good to see this actor's support and achievements in the role of Hu Ge.
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