"Spring" is the representative work of director Kim Ki-duk. When I first heard about this film, the epidemic was raging, Wuhan was closed, and most people in the country were quarantined at home. At that time, many of the movie giants I followed were cherishing the memory of this Korean director, so Kim Ki-duk became a well-known South Korean director besides Bong Joon-ho, Lee Chang-dong, and Park Chan-wook. Sadly, since it's this way.
It reminds me that the first time I watched "Guling Street", I learned that director Yang Dechang had already passed away in 2007. This kind of regret makes it difficult for me to dissipate, and I even save his few works, for fear that the only connection opportunities will be used up too soon. I will search for his interviews everywhere. There are very few questions from special reporters. Most of them are at the sharing meeting and the premiere of the movie. The radio effect is extremely poor, but it does not prevent me from listening intently. "Ten Years, Goodbye Yang Dechang", I have watched it several times, and Yang Dechang, who is told by more than a dozen filmmakers who are now also in the works, really fascinates me. Du Duzhi naturally took pictures of Guling Street, and was arrested by Director Yang in the middle of the night and went to Yangmingshan to tune in. He often wears a hat and sunglasses, and can catch fire at any time if he is slightly unsatisfactory on the set... It is the appearance of a young man with vigor and vitality.
Originally, I wanted to write some after-views of "Spring", but the current feeling is really similar to the situation two years ago, so I couldn't help but write a few more digressions. But it should also be clear that when watching a movie, separate the work from the director itself, and feel a purer movie.
As Kim Ki-duk's representative work, "Spring" is of course a masterpiece, and it is also a work with a very personal touch, but the personal touch here coexists with praise and criticism. I am really curious about the reincarnations of spring, summer, autumn and winter, and explaining human nature between a mountain and a floating temple.
Spring - the first birth of all things
In Kim Ki-deok's philosophical world, human beings are inherently evil at the beginning. As a new creature, the little monk began to have consciousness, and he would play tricks on fish, shrimp, snakes, and insects. The idea that human nature is inherently evil conveyed throughout the film stands here. Later, the old monk found that the little monk was teasing the fish and shrimp, and the punishment he punished, the little monk felt guilty and painful. Before the social temptation, people can be taught.
Summer - growth and separation
Of course, the little monk came to his youth in a blink of an eye, and his self-consciousness was awakened. The psychologist Jung called this period the "birth of the mind." The world has to go through this period of spiritual chaos and then to establish their own boundaries. The exact location of the final limit of development may be uncertain, but the scope is already determined by the nature of the center. The appearance of the sick girl corresponds to the pursuit of love by the young monk, to get rid of the shackles of the old monk and enter the world to become a human being. Such a narrative is consistent with traditional patriarchal education, where the role of the parent is replaced by an old monk from God's perspective.
What kind of nature is, it is like a maze, only one or two can be obtained in the rolling mundane world. The end of Xia means that detachment is the most important step in self-exploration.
Autumn - turning point
Xiao Seng took his paranoia and wandered outside alone. When his rules conflict with the rules of the outside world, the strong make the rules change, and the weak are tamed by the rules. The young monk does not belong to these two categories, and is still in painful exploration. Returning to the temple after killing people is probably like many adults in their 30s now. After half a lifetime of growth, they are in the biggest turning point in their lives. Either they will go their own way until they grow old, or they will find their true heart and live their freedom, and the turning point must be to experience pain. When your body and mind are transformed, you will have a choice that only belongs to you. Of course, this is also inseparable from the guidance of others.
Winter - Enlightenment
After middle age, most people have become enlightened, and the overall situation of life has been decided. Continue to live your life according to the choices you made in middle age. In the last part, there is the part of the middle-aged monk played by Kim Ki-duk who returns to the temple. It feels that the rhythm of the whole movie is cut off, and it is difficult to get into the play to be honest. The last shot, the statue of Buddha sitting on the top of the mountain, looking down at the floating temple in the mountain, is the largest perspective in the whole film, which brings the sense of fate of reincarnation and leads the audience to deeper thinking.
Xu Haofeng commented on Kim Ji-deok: "There is no doubt that the talent of the movie is, but it is far from the master". Jin Jide shows the changes in people's hearts through the arrangement of the scenery of the Buddhist hall several feet above the lake. He can be called a movie genius, but the master still needs stronger control, and the second half of "Spring" really has many broken points. Life is always spring, summer, autumn, winter and spring, but there will not be another spring when the director leaves because of the new crown virus.
View more about Spring, Summer, Fall, Winter... and Spring reviews
