"Evil in the East and Poison in the West" mentioned in the subtitles at the beginning of the film: "There is a cloud in the Buddhist scriptures: the flag has not moved, the wind has not blown, it is the human heart that moves by itself.
" Like the turbulent waters behind the subtitles, it is intended to explain the ups and downs of modern people's hearts.
Wong Kar-wai's works are for those who can penetrate deep into their hearts. If you have the ability to uncover the dreamy martial arts coat of the "East" film, you will see a naked self.
We must believe that "East" tells the inner emotions of ordinary people, not the extraordinary stories of knights. It talks about the undiscovered in people's mind, not the daily tedious daily presentation. Dongxie, Xidu, Beibei, and Dugu have been deconstructed here to deconstruct the original faces of Jin Yong's pen. After being endowed with unique personalities and emotional characteristics, all the knights have become steel and become the symbolic identity of the inner emotions of modern urbanites. What these symbolic identities have experienced and carried is the platinum core of the film narrative that the lonely and proud Wong Kar-wai tried to find spiritual resonance.
All our efforts in life are directed towards finding and discovering ourselves.
And between the complicated emotional entanglements of the characters in "East", between the exchange of shots and the murmurings of the characters, we will be pleasantly surprised to discover that deep in the depths of the self, full of hidden wounds, who have never been Worlds discovered or forgotten for years. We will see the absurdity and helplessness that benefits from life itself, and see every choice and pain, every abandonment and persistence that exists between others and ourselves.
Behind Wang's camera, the ultimate meaning of life, the origin of emotion, and the ultimate meaning of existence diluted by complicated and chaotic phenomena are so important. With the help of the narrative meridian formed by the postmodern deconstruction of these symbols, it constitutes the inner essence of the avant-garde poetic expression of "Dong Xie Xi Du".
Keyword 1: peach blossom
In "East", the peach blossom is an extremely important image. In an old but surprisingly accurate jargon, it's like a red thread running through the show. This pink line runs through the actions of almost all the main characters in the play:
the love between Ouyang Feng and his sister-in-law happened in the peach blossoms of White Camel Mountain. The peach blossoms in the mountains are blooming and thankful.
Huang Yaoshi also hopelessly fell in love with this woman here, and thus began a friendship with Xidu, who became the only connection between Ouyang Feng and his sister-in-law.
In order to experience this destined love, Huang Yaoshi started a journey of struggling to love and be loved, hurting others, hurting himself, and causing endless doom.
In the Peach Blossom Forest outside Gusu City, he aroused the hopelessness of Murong Yan, who was in the beginning of spring, and caused irreparable damage.
Disregarding his friendship, he seduces the wife of his friend Sunset Samurai named Peach Blossom and walks away.
The sunset samurai, in the battle of friendship and love, ran away in anger, and began to wander for many years. At the age of thirty, he knew that his time was short, and he was determined to return to his hometown to take another look at the non-existent, blooming peach blossoms, so he buried himself in the murderous desert.
The story unfolding around Peach Blossom covers all the main characters and main narratives of "Evil in the East and Poison in the West".
The peach blossom is not the peach blossom, it is not the turbulent flag, nor the blowing wind, it is the throbbing of the heart that people are born with and are destined to be happy or sad - people can't do anything. Run away, because that's love.
Keyword 2: Desert
Desert is a forever lonely place.
Scarlet background, dim yellow light, like the setting sun of blood, endless thirst for survival.
This is the place of destruction, and this is the place of rebirth.
The stillness produced here is extremely profound, and it can transmit the deepest voice of the human heart.
A group of people came and a group of people left. Like a horse thief, setting off a cloud of dust and perhaps the memory of blood and tears.
Here people listen to themselves, forget themselves, remember themselves, decide on themselves, give up or cling to themselves, as if the desert is themselves.
Then the people left, east or west, clenching their swords and untying the plows on their necks.
The desert is man himself.
Facing the unpredictable desert under the sunset, Ouyang Feng once said to himself with emotion: Everyone who sees a mountain will want to know what is beyond the mountain. But when he walked over the mountain, he found that there was still a mountain on the other side. And although he lived in the desert for a long time, he had never seen the desert clearly.
This is his summary of himself, but also of everyone who stayed and walked in the desert. People who have a desire in their hearts always hope to get out of themselves, but they will always stay in themselves.
Everyone exists in the desert, and also wants to know what's beyond the desert. Even if you tell him that the desert is still the desert, he still can't resist the urge to see it for himself. We always have an inexplicable attachment. People who are full of expectations for the unknown always have to pay a high price for this obsession.
Dongxie Xidu, Beibei Dugu, these people with stories, they all looked down and hesitated in their own desert, and experienced the baptism of bitter wind and sand. Then, they went their separate ways.
A desert is still a desert, but it is not the desert of yesterday. The sandstorm erased everyone's footprints, but it couldn't erase the pain and tears in everyone's heart.
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