□ Si Wangze
"The soil at the foot of the mountain is fertile, the land is five acres, and the five acres of fertile land can plant something... Chickens are fat and goose is fat, cattle are strong, cattle and sheep are strong, beans and rice, rapeseed! "
In "Little Soldier", the song repeatedly hummed by Jackie Chan has a completely different emotional expression every time it appears, or is proud, or joyful, or helpless, or sad, and the transition between various emotions echoes The development of the plot does not count until the tears are sung at the end.
It's just that these tears can't be said to be given to heroes. Because the heroic view of the Chinese people has always been that "a man is born in this world, he mounts a horse to flatten the world, and when he gets off his horse and goes home to raise his wife and children, it is the essence of life." Heroes always put "the world" before "wives and children", and their personal ambitions and vision must be lofty.
As a result, later generations, because of their admiration for heroes, often unconsciously look at history from the hero's lofty perspective. It's just that high or can't beat the cold; far away, it's hard to see the autumn leaves. Under such circumstances, the subtle texture of history is often not given tender caress because of the satisfaction of blind people touching elephants and the infatuation of seeing flowers in the fog. When the lens of history is only like the eyes of emperors, everything is as Lao Tzu said: Heaven and earth are not benevolent, and all things are dogs.
In the long feudal era, the Chinese people worked hard on the mulberry fields with the attitude of "guts", supporting the stories of changing dynasties and the prosperity of dynasties one after another. And the history that the historian chiseled with the pen is often just the success and failure of the family of princes and generals. Therefore, the people who made history will always be just a collective term, and it will always be a background-like existence that embellishes the emperor's economical benefit to the people or the evidence of immorality and incompetence.
Although the "people" in the historical corridor is only the background, once they speak, their roars can overwhelm the quarrels and echoes of the emperor and ministers, and become the most beautiful and true ballad -
Youhu Sui Sui, in Piqiliang. My heart is worried, my son has no clothes.
There is a fox sui sui, and a liqi li in Piqi. My heart is worried, my son has no belt.
There is a fox Sui Sui, on the side of Pi Qi. My heart is worried, and my son has no clothes.
This "Book of Songs, Wei Feng, You Fox" is a love song for a woman to court a man. It says that although the beloved man is poor and has no clothes, he still loves him. Another said, "You Fox" is a wife who misses her long-term service and never returns. husband. It appears in "Little Soldier", the tone is desolate and sad, and it seems to take the latter meaning. In this film, the feudal lords' struggle for hegemony, co-ordination, and tactics have become the foil for this love song, so there is an ironic effect full of sadness and helplessness in the film. This effect may also be achieved through the film. The name of a line from the role of the singer in the middle of the song - "retribution". Specifically in the film, this "retribution" is that Liang Bing, who was afraid of death, sacrificed himself for the country, and Prince Wei, who was not afraid of death, surrendered to Qin State; from then on, the world was peaceful.
After Taiping arrived at the "retribution" of the family's ruin and death, it always makes people feel bleak to think about it. But after all, there is a sense of "desolation" to set off the great victory of unifying the world and to commemorate the thousands of "Liang soldiers" who are like cud-dogs. This cannot but be said to be a kind of progress.
This progress can be clearly seen by the comparison of "Little Soldier" and "Hero". Both of them talk about the theme of war and peace. The former is expressed by the concept of family and country and life and death of the little people, and the latter
is explained by the grievances and grievances between the big people and the big people; both also involve thinking about how to realize the ideal of peace in the world. However, in handling, the former is presented in multiple dimensions in terms of the relationship between the individual and the state, and the relationship between the state and the world. Among them, the conflict between personal emotions and the survival of the family and the country and the well-being of the common people is still thought-provoking even today. The latter is even more weak and powerless at this point. The epiphany of the protagonist is like a tree without a source, and its "depth" only ends in the choice between personal grievances and the well-being of the common people.
Comparing the two, it can be seen that the life trajectory of a small person in history is enough to outline the rise and fall of the country and the world, and its expression is more delicate, moving, pleasant, and thought-provoking. And this may be one of the reasons why historical films in recent years have begun to focus on specific individuals and the joys and sorrows of little people.
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