Jingzhou (played by Deng Chao) never imagined that the bowl of rice that was given away after the separation of the mother and son would be exchanged for a knife that was inserted into the mother's chest more than ten years later. Zhang Yimou walked out of the Eighth Cotton Spinning Factory in Xianyang, and it is also difficult to reverse the various changes in his life. His original ideal was finally not realized: to do a good job in photography, he was recruited by the trade union to be a publicity officer. There are more than 600 people in the whole factory, and he is the only one who is neither a member of the league nor a member of the party. In the meeting, he left alone in front of everyone's eyes. And that indicator from Beijing, among the more than 5,000 employees of the Xianyang cotton spinning system, "accidentally" fell on Zhang Yimou. One in five thousand luck, a silver lining, a way out. Otherwise, like all his co-workers, he would endure until retirement, or do some business on his own. Occasionally, his photographic works will be published in the "Xianyang Daily". "The Girl Who Killed Quails" said: "At that time, standing at a fork in the road and seeing the situation, the day you made a choice was quite dull and ordinary in the diary. At that time, I thought it was an ordinary day in life." Zhang Yimou has "Shadow" in his heart, and "Shadow" does not vomit unpleasantly. Naifu was classified as a counter-revolutionary at that time, the eldest uncle was a Kuomintang, and the second uncle was a spy. This kind of family background, the individual wants to survive and develop, is comparable to the sky, which can be described as a dead end. Chen Kaige said: "For a long time after liberation, the situation of such a family can be imagined." In "Shadow", Jingzhou, which was controlled, manipulated and squeezed by the powerful, was in a dilemma, and it was also a dead end. Life and creation, in the final analysis, are sometimes like playing chess, sometimes like gambling, relying on both manpower and luck. Drawing cards is luck, and playing cards depends on skill. Even if a master picks up a bad card, he relies on reason, pays attention to details, and pays more attention to foresight and coldness than algorithms. Jingzhou was born from grass roots, trying to break free from the restraint of fate. He is cautious, stoic, and independent. Caution is the reason for stability, perseverance is the reason for being ruthless, and independence is the reason for being cold. At the same time, he is alert, vulnerable, and eager to depend, and he never forgets Xiao Ai (played by Sun Li)'s love house and Wu. Combining the character of a chess player and a little gambler, it is possible to create something out of nothing and live from death. Imprisoned in a cage, surrounded by vicious tigers, he compromised and sought perfection. Hit an invisible target. Of course he remembered how to send the nemesis, and the reason why he survived was just a detour leading to the bestiality. But I am very doubtful that the seven days and seven nights of torrential rain have drowned out the fiery human nature, whether the animal nature is actually the right way. It is not so much that Zhang Yimou once again revealed the gloomiest side of his values in "Shadow", as well as his endless sorrow for human nature. It's better to say that he personally operated these bloody cold The scene is trying to unify the world that is contradictory in the heart to the point of exploding. Zhang Yimou denies that he is a genius director. What is genius, the poet Kuang Guotai said: "Genius only needs a dark blue background, just like birds omit the ladder." - Genius is a good card when you get started. Zhang Yimou always felt that he was born with a loss, and he was diligent to make up for it, so he was extremely low-key and cautious, and each work was "in the bleak management of the craftsman." He always reminds me of the masters who are famous for their hard work in the history of literature. Flaubert wrote a page in five days, Wilde deleted a period in the morning, Babel often rewrote a sentence a dozen times, and Hemingway said all drafts were stinky shit. The characteristic of Zhang Yimou is that his creations, no matter the choice of subject matter or the style of his works, go in the opposite direction of his character, reaching the extreme of generosity and enthusiasm. "Shadow" combines these two qualities of the director, generously and enthusiastically enduring the cold rain and the bleak wind, which can only be glimpsed through a little scarlet tube. I haven't seen such a brilliant Zhang Yimou for a long time. This year is the 30th anniversary of "Red Sorghum" winning the Golden Bear Award in Berlin. Since then, he has produced extremely wonderful works, and has also made mistakes and mistakes, but he has never been inadvertently. Like a Du Fu-style classical poet, he pays attention to the law and scrutiny. Even the flaming emotions have to be quenched several times. He has also become one of the most confusing directors for the audience, because it is difficult to "qualify". Many viewers think that if Zhang Yimou filmed along the lines of "Red Sorghum", "Chrysanthemum Dou", "Raise the Red Lantern", "The Lawsuit of Qiu Ju", and "Alive", I am afraid that it would have been empty. He doesn't. Directed operas, operas, live performances, and made comedies, action films, and commercial films. There is nothing he dare not do, so he becomes the most difficult to understand. Zhang Yimou is self-aware: "Believe it or not, I will be scolded for filming "Alive" today. But in fact, it is not an artist who cherishes feathers, he is always looking for a way. Because he would play a few basketballs to enter the cotton mill, sell his blood in exchange for a camera to knock on the door of the school movie, these memories are etched into his bones. So I kept seeking innovation and change, instinctively attacked everywhere, and sacrificed my own life. This of course became a limitation of him, and then evolved into a kind of spectacle. Even if his works are excellent, complaining is a prescribed action. Even if "Shadow" has reached a masterpiece, it is no exception. The reason is very simple. After all, he is "Director Zhang Yimou" and has been unrivaled for 30 years. But it also means that his vitality is huge. It's hard to imagine that he is still full of energy. "Shadow" breaks through the extreme in form, and uses images to present This is a Shakespeare-style story, full of oriental freehand brushwork and blank space. He remains the most respected film master. The nominations for the 55th Golden Horse Awards were announced, and "Shadow" won 12 nominations, including the best film, best director, best actor and actress and other major awards, which can be said to be the winner. The value of this film lies in Zhang Yimou's rebellion and rebirth, transformation and return in his near and rare years. His energy is astonishing. Don't worry. Akira Kurosawa filmed "Shadow Warrior" at the age of 70, "Ran" at the age of 75, and "Dream" at the age of 80. It is the luck of the younger generation of filmmakers that Zhang Yimou continues to explore the way for Chinese films.
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