Zhang Zi's "A Thousand Miles Riding Alone" has been able to describe family relationships with ease, and he is also good at generating tears, but this time it is not as exaggerated and forceful as "Thirteen Hairpins". The most perceptible part is vision. Zhang has restrained the dramatic red and green that he once preferred, and presented a gloomy scene. Only in the "Red Detachment of Women" dance scene, it is embellished with bright red, but it is ironic. Lost the shackles of "blockbuster", a director once again intends to tell the story with heart, then more time, the camera must fall on the impeccable actors, the middle-aged Chen Daoming and Gong Li, presented unpretentious acting skills, and Ren It is difficult for any young actor to retain the full charm. The details show the details with the in-place performance, and the details trigger associations. In this way, in the quiet place, the soul captures the soul, and with restrained brushwork, depicts the "reconstruction of an ordinary family after being seriously injured by the times". ".
In the reconstruction, the most moving thing is the sunset love between Lu and Feng. This belated love is very scarce in the current era of chasm of desire, but it has always been traced in the poems of our ancestors— - For example, "Even if you don't know when you meet, your face is full of dust, and your temples are like frost" "Jiangchengzi-Yimao First Moon 20th Night Remembering Dreams", or, "I wish to win the heart of one person, and the white heads will not be separated" "The White Head Yin ".
The film has no hate, no rendering, just presentation. It is presented in a soothing and restrained manner, and the rhythm is broken several times, but it also comes from the way of awakening amnesia in the folk dharma. Some people say that Zhang's film is based on the novel "Criminal Lu Yanshi", which was originally a vivid description of the life of prisoners, but the last chapter of the novel was intercepted, and the film focused on Lu's return after the Cultural Revolution and Feng's amnesia. castration.
That's right, in today's China, there is still a generation that was crushed by the Cultural Revolution. There are indeed many reasons to call Qu and grievances for so many families in those days when their wives were separated and their families were destroyed. But after the wave, not all people who have experienced hardships will be like Zhang Yihe, who will continue to write and remember bravely (here, Zhang is an author I like very much, and the fluency of writing is not an order of magnitude) . More ordinary Chinese families, such as Feng and Lu, are helping each other to melt the iceberg in their hearts. Experienced absurd disasters, but only introspected day after day, silently endured, quietly forgotten. Try to live.
Is it only brave to paint bloody wounds? otherwise. It is thrilling in the silent place, or it can be inadvertently under the camera, the scar on the hand, the white beard, the back and the trembling hand, the hope of "deceiving oneself", and the peaceful forgiveness.
Lin Yutang summed up the nature of Chinese people as early as in "My Country and My People". Unlike Westerners, they do not have a strong social or community concept. It is difficult for Chinese people to forget their status and responsibilities in the family, and the family is also the ultimate warmest belonging. Just like Lu Yanshi, many people yearned for freedom when they were young, but were cut off by the times. When they reached middle age, they no longer expressed their aspirations, but carefully concealed the infinite romance and grand ideals they once had, and returned to the ordinary life of firewood, rice, oil and salt. Life, dedicate the most stable time in life to the lover who may not be perfect, but is determined to never change.
In every turbulent time that the Chinese have experienced, under all the calm faces, there is actually a hidden "love in the city". The still water is deep, soft and boneless, but it can also overturn the cold steel and concrete, overturning power and Desire, accommodating evil, diluting the absurd.
For an era, Lu Yanshi chose forgiveness and reconciliation, so why not Zhang Yimou? Is this cowardice?
Perhaps, this is just a very Chinese way of writing, a philosophy of life cultivated in the years, but the only way to survive.
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