The handling of tone in "The Big Red Lantern" is closely related to the development of the plot and the rendering of the atmosphere. The contrast between cool and warm tones implies metaphors, and the obvious red tones and blue tones are not only the reflection of the characters' hearts in different scenes, but also the symbols of the old feudal society.
(1) Red: The most prominent red lantern in the whole film runs through from the beginning of the fourth wife's marriage to Chen's house to the fifth wife's marriage at the end.
In the scene of the fourth wife getting married for the first time, she was puzzled by the "red" rules of the big red lanterns in Chen's house, especially because she had received some education, she thought that "lighting the lights" and "turning off the lights" in the Chen family was troublesome and troublesome. On the wedding night, the red lanterns reflected Song Lian's face in the full screen of red. The red color at this time was huge and oppressive, symbolizing the helpless beginning of Song Lian's life being enveloped by feudal patriarchy. The red tone does not render warmth, but horror and sadness.
In the life of the deep house compound, Songlian gradually understood that she could only win the opportunity to order food and a comfortable life by competing for favor and red lanterns. When Yan'er was found secretly lighting red lanterns and fighting with the four wives, the red tone contrasted with the surrounding walls and Yan'er's humble house. The red tone here highlights the humble and twisted desires of the wives and Yan'er who are behind the compound for a long time. , equally terrifying.
The only warm red tone appeared in the scene where Song Lian and the eldest young master met for the first time. This is the first time Song Lian wears red clothes except for the newly married. In a closed environment, the only time red symbolizes Songlian's inner enthusiasm and self-consciousness is very moving.
(2)Blue:
First of all, blue is the main tone of Chen's house. When shooting the panorama, the city walls, roofs, thresholds... are all cold and rigid in blue tones, just like the feudal rules handed down from the ancestors of Chen's house. The blue brick and tile walls are closed, which also enhances the sense of oppression of the scene.
In the first blue tone, the snow in the sky sent Yan'er away, which was a blow to Yan'er's struggle to keep hope. Songlian used "power" to kill Yan'er, creating the deformation, indifference and feudal dogma of human feelings. sorrow.
The second heavy use of blue tones occurs in the execution of the cheating third wife. Song Lian was drinking and having fun while she was bored and depressed, but inadvertently revealed the affair of the third wife. In her heart, she actually envied that the third wife had a part of her freedom, and she felt guilty for accidentally ruining the life of the third wife (a woman who also endured the suffering of feudal customs). In the icy blue of the snowy day, the third wife was finally sent to the dead man's house. Song Lian complained under the cold blue night, but was warned that "you didn't see anything". The death of the third wife ended in the icy blue tone with Song Lian's "madness", which perfectly rendered the terrifying feudal old system. cold.
Of course, the feeling of depression after watching the movie does not come from the plot. The extreme contrasting impact of tones and the almost rigid and serious composition all reflect a strong criticism of the old feudal system, the supremacy of power and the restriction of freedom.
The master's mastery of color can only be called absolute! Shock shock!
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