Serious spoilers in this article. For most people who are in contact with Yang Dechang for the first time, his films always find it difficult to approach. This is not because of his domineering, but because of his sullenness. This is mainly related to his anti-film creative style. . He doesn't like to explain the characters and other information directly like traditional movies. Instead, he tells the stories that happened to these characters. Under normal circumstances, the characters in the movies we watch are very clear, no matter the good or the bad. , We can all have a certain understanding of it, so that when we look at the story, the sense of substitution is stronger, while Yang Dechang’s movie is different. Watching his movie is like breaking into the life of a group of strangers. We didn’t know anything about these people before, as if their story had happened long before the movie started, and our movie started in the middle of the story. It’s like a 20-episode TV series. We started from episode 11. At the beginning, we don’t know what happened in the previous 10 episodes. Yang Dechang’s movie is like it was shot from episode 11, so as soon as his characters appear on the stage, it makes people feel that they are inextricably linked. As for what story happened between them, Yang Dechang will not directly explain, but will let the audience feel them through the "thunderstorm" retrospective and the clues about the past revealed by the words and deeds of these characters in the subsequent stories. The connection between them is a great test for the creator's skill.
For example, in the opening wedding scene of "Yi Yi", a woman wearing glasses came here and behaved strangely. When someone asked her what she was doing, the woman opened her mouth and cursed. The audience didn’t know which level. A girl (Jian Tingting) saw this woman and immediately called out kindly: Aunt Yunyun.
Aunt Yunyun? Oh, it turns out that they have known each other before. At this time, the relationship between the characters is slightly clearer, but the following scenes are even more confusing. If it is the first time you watch it, it might be confusing, but if you watch it for the first time, Then you may have to shout for a stroke of wisdom. Aunt Yunyun took Grandma Jian Tingting's hand, knelt down, and cried: Auntie, Auntie, I'm sorry, I should have called you the first mother today. At this time, some viewers understand, but some are even more confused. What does this mean? What do you mean "I should call you the first mom"
Some viewers have watched a lot of movies or novels, and they can infer that this should be the bridegroom official's old friend, but now they are making wedding clothes for others, and they are coming to complain. But here comes the question. What happened to them before, what kind of twists and turns and stories happened between them? We don’t know that Yang Dechang did not explain that the blanks left by the narrative not only did not make the story incomplete, but made people feel that the story was richer, because it made the audience feel a lot of things that they could not see but did exist. , This kind of blank space also makes the characters more real and more lively, because it is impossible for us to understand all of a person in life, but we can feel that countless stories have happened to each person, enough to write a book Novel. Almost all of Yang Dechang’s movies are like this. Before the movie started, these people had already known each other, and there were many stories of separation and recombination, but we don’t know, but we can show them through the following stories. There are clues to the existence of this "past".
This is a small example at the beginning of "One One". This kind of narrative runs through the whole film, especially Mr. Jian's first love. The use of "retrospection" and white space is more obvious. This is not the original work of Yang Dechang. The famous drama "Thunderstorm" is the masterpiece of this technique. The grievances between Lu Shiping and Zhou Puyuan only have dozens of lines on the side, but just these few words make people feel that there is endless behind it. The story is even enough to write a full-length story; another example is Li Mochou’s love and hatred in The Legend of Condor Heroes. Jin Yong only used a few words to explain some clues without any direct description, but the love behind it Lovesickness, betrayal, and hatred have given people endless imagination, which makes people feel that there are many articles behind this. This point makes the writer Ni Kuang admire the five styles. The characteristic of this kind of narrative method is that the direction of their story is two-way, one is forward, one is backward, one is toward the future, and the other is connected to the past, and the line of the past is often not direct memory, but through the back. The stories that happened on the line are alluded to, or through the occasional one or two narrative "backtracking". In "Yi Yi", Mr. Jian's first love and his brother-in-law's love entanglement are one of the representatives. The difference is that "Thunderstorm" and "The Legend of Condor Heroes" can be understood at a glance, while Yang Dechang's information needs to be watched many times to gradually discover, because Yang Dechang handles more restrained, from the script to the lens language. Deliberately create a sense of "distance" between the audience and the story for fear that the audience will understand it all at once. The advantage of this treatment is that it makes the movie more rational and does not have too much design. Although it is still designed in the final analysis, at least the traces will not be too obvious.
Yang Dechang’s sorrowful sorrow and thunderstorm-like “retrospection” can’t be better placed in the life poem "Yi Yi", because it talks about looking back at the past and being confused about the future. It is a piece of A movie that explores the entire life from the perspective of a middle-aged person. Why many people, including me, regard "Yi Yi" as the number one Chinese-language movie, which is the same as "Once Upon a Time in America" as a must-see for men-the whole life is in it: the movie sets the male protagonist as the middle The young man, in front of him, is an unbearable past, and an uncertain future, which is perfectly symmetrical. The middle-aged man happens to be the center of symmetry in life. The structure of the movie is also symmetrical. The opening is a wedding and the end is a funeral. , The beginning is the cry of a baby, and the end is the cry of the deceased's relatives; at the same time, the lingering of the first love girlfriend, the trivial matters of the wretched wife are symmetrical; Mr. Jane’s first love and the love sprout of his daughter and son are also symmetrical, At the same time, the two children are an allusion to Mr. Jian’s different stages of life, truly "the past and the future will be considered together"...The film is confused about the career of people to middle age, first love, the sprout of sexual consciousness, violent culture, the value of art, and the film. There are considerable reflections on the meaning of education and educational issues, and these reflections are not superficial, but rational and poetic. It is not so much a film as it is a form of a wise thinker borrowing a film. To sing the philosophical thinking about life, "Guling Street Juvenile Murder" is the youth version of "War and Peace", and "Yi Yi" is a life version of "Faust".
But there are always some people who don’t think so, why? Because movies are different from literature. Movies are relatively young and the threshold seems to be relatively low. Literature is a high standard thing. It has long been a fact recognized by the people. Moreover, everyone has received language education from elementary school and has long been accustomed to writing. Thinking, there is basically no systematic cognition of audiovisual language, a language system with a new way of thinking. Coupled with the low threshold of movies, movies have always been regarded as low-level art. After all, you can watch without knowing words, but I don’t I believe that a person who doesn’t know a word, has never studied it for a day, and has no knowledge at all, can fully appreciate the tragic beauty in "Old Boy" (Park Chan Wook) and "Farewell My Concubine". I don’t believe that there is no historical knowledge. Those who know can appreciate the desolation of "Once Upon a Time in the West" and the end of an era in "The Last Samurai". They can probably understand the story to death. As for the depth of understanding, it is still related to the personal knowledge structure and level of knowledge, but many people I just don’t realize this. The layman is watching the excitement, and the expert watching the doorway can be put on other art, but it can’t be put on the movie. If you say that he doesn’t understand art works and can’t appreciate symphony, he admits it, but you To say that he can't understand a certain movie is more terrible than killing him, because that is the biggest insult to his IQ! Therefore, the higher the evaluation of the movie, the more people with rebellious psychology. I have faced many problems when recommending this movie: I know what life is like without watching the movie. Yang Dechang had anticipated this a long time ago. There are several counterattacks in the movie, such as the response from foreigners, such as Jian Tingting and Fatty's discussion about the value of the movie. Many people would rather waste their time on those essays and novels that are not called literature, chicken soup without chicken soup, and moaning, and they don’t want to spend three hours to communicate with "Yi Yi". First, they are too busy. They couldn't spare an hour; secondly, they felt that their understanding of life was no worse than that of Yang Dechang. Just like the screenwriter Shi Hang said in the lecture of "Guling Street Juvenile Murder Incident": People are too busy now, and they don’t even have time to spend a few hours to watch a good movie... Why are we? Want to read, why watch a movie? Shi Hang asked, his answer was exactly the same as Yang Dechang's answer in the movie: a lifetime is too short, not to live a few more lives. Yang Dechang also told us in "Yi Yi" that the experience drawn from "Yi Yi" is at least three times your personal experience. Okay, it's all here. If you don't watch "Yi Yi" ", then you really missed an opportunity to talk to a great man.
If you haven’t watched the movie before, I suggest you watch it later, otherwise you won’t understand what I’m talking about because I won’t do any plot introduction. This article is written for those who have watched it. In addition, I have seen the movie and felt that I had over-interpreted "Yi Yi" before. Look at the following content to see if Yang Dechang really has a good product, or if I am far-fetched, I will follow the wind and brain to make up for it. To say a digression, I basically I haven’t checked any film reviews of "Yi Yi" on the Internet. The content of this article is all the information I obtained from watching the movie. If you think we think that a certain movie is good to follow the trend, then I can only use the "third "Human effect theory" to describe you. The occurrence of any story requires some impetus. The technical term is: motivational event. This is used in novels, dramas or movies, but if we don't deliberately study it, we generally won't find it. The motivational events in this film are gradually explained one by one. First of all, at the wedding, the first girlfriend and Mr. Jane, who had been in love for 30 years, met unexpectedly. This is just a small foreshadowing, not enough to promote the revival of Mr. Jane’s old love. ；
Next, another incident happened at home: his mother-in-law was seriously ill, and Mr. Jian’s life began to be disrupted; this was the second level of motivational event; the third level was that the Japanese Daejeon came to Taiwan to discuss business, and the two people had the same worldview, so they had a relationship. Gradually, this incident completely opened the door to Mr. Jian's past, and the "retrospect" unfolded, and Ben Yang Dechang's thinking was also shown one by one through the development of the story. Daejeon’s debut design is very clever, and people who watch it for the first time or even for the second time may not notice this detail:
At the beginning of the shot, my brother-in-law was doing a B-scan with his wife. The picture is a B-scan, and the line outside the painting is like this: It has begun to have general signs of life. In addition to thinking and calculating, it will also grow into a living new Life has become a good friend for each of us to place emotions on. This is the most extensive business opportunity for computer games. At present, we cannot surpass the general computer game products that can only kill and kill people. It is not that we do not know enough about computers, but that we do not know enough" People", ourselves.
If you don’t read it carefully, many people will think that this is what the doctor doing B-ultrasound said, but pay attention to this line, is it like introducing the fetus? No, this is introducing artificial intelligence, who is introducing it? Daejeon. The line we heard just now was from the translator in Daejeon. It’s a magical pen to cut the image of the fetus and the lines of the artificial intelligence together, forming a special montage relationship, and the metaphors are self-explanatory. By the way, Da Tian was also brought out, and the original preaching lines sounded so. Naturally, if the director does not design this way, but divides it into two scenes: the inspector, the inspector, and the product introduction product. Not only will the metaphorical relationship of montage disappear, but the movie will also become full of flavor, as if it has become a hundred. Home forum. This effect can only be achieved by movies. Regarding the sentence "We can't surpass the general computer game products that can only hit and kill people at present, it is not that we don't know enough about computers, but that we don't know enough about people, ourselves." The same method is used as a metaphor in the second half of the movie. Again. As shown in the animation
After B passed, the shot that followed Datian was introducing his business philosophy. At this time, everyone noticed that some of Mr. Jian’s colleagues were either wandering, eating, or dozing off, indicating that they were treating Datian. The things are not interested at all. As a result, the only Mr. Jian who agreed to sign a contract with Datian became a "diplomat", and the company asked him to negotiate business with Datian. During this process, Yang Dechang also satirized the Taiwan market where there is no treacherous no business, plagiarism is popular, and the popular heart is not old. , I won’t introduce them one by one. According to Chinese people’s habit, business discussions are basically dinners. At the dinner table, the two people have the same ideas and talk about everything. Gradually, they talked about music from product to music. This reminded Mr. Jian of the past. It was a re-meeting later. Girlfriend’s foreshadowing: My father used to listen to music every day. I hated his music. I got my first love when I was fifteen. Suddenly, I understood the music. Then she left, but the music stayed. . Datian asked his girlfriend why he left, and Mr. Jian said: I left her. This will be a very heavy scene later, and it will be performed again on Mr. Jian's daughter. Tsk tsk, do you think it counts as retribution.
This time, Mr. Jian returned to the lingering enthusiasm of the year. In the evening, he returned to the company alone after drinking. There was no one in the company, and no lights were turned on. Beethoven’s music rang outside the picture. Quite artistically, Mr. Jian began to call his girlfriend, but the passion and emotion of youth has long been lost in the middle of life. On the phone, he can only say some insignificant greetings. As for the vicissitudes of life and helplessness, it is only possible. The consciousness is beyond words. Every scene in "Yi Yi" is not random. The previous scene and the next scene must have a certain correspondence and connection. Even if there is no direct connection, they must correspond to a later scene far away, such as this phone call. The lingering drama, the next drama is another magical stroke, the two dramas can be said to be symmetrical with each other, forming a subtle allegorical relationship. Mr. Jane returned from the company and just revisited his old relationship with his girlfriend. When he returned home, he immediately faced the trivial matters of the wife of chaos in reality. Although this was designed, it made people shout: God’s design is too much to live. !
And when the wife was crying, what happened outside the painting was the beating and scolding of the couple next door. Every family had their own fucking scriptures, and the two families set off each other, and the fucking scenes of life jumped on the screen, and when watching this scene, people couldn’t help thinking. : If Mr. Jane really was with his first love girlfriend in those years, would their lives become as fucking as in this scene? Maybe, maybe not, Yang Dechang's handling of these two scenes in this way is also a subtle open-ended answer. This reminds me of a sentence from Professor Qian Liqun of Peking University: Young people, love must be caught, otherwise it will be too late to regret it. This is the experience of our people. Yes, as Shi Hang said: After that age, he is not moved. Just looking at these two episodes, the sentiment and demeanor it showed in the memorial to youth is enough to explode various youth films. The next day, the neighbor brought two sunglasses to go out. Why did he wear sunglasses? He had a fight. Yang Yang stretched out her head curiously, and was educated by Mr. Jian. Yang Yang said this like a philosopher: I first know what she is up to, I can't see from behind...Yang Yang again Question: Dad, I can’t see what you see and you can’t see what I see, so how do I know what you are looking at?
This passage is why Yang Dechang made this movie, which will be analyzed later. Due to the pressure of life, the wife turned to ask gods and Buddhas for help. She decided to live on the mountain for a period of time, which provided another layer of convenience for Mr. Jian to meet his girlfriend again.
At the same time, Yangyang's consciousness of sex and Tingting's consciousness of love are gradually sprouting, and Yang Dechang's handling of this is also a magical touch. Especially the handling of Yang Yang’s sexual consciousness awakening is real, life, and very sacred: Yang Yang is bullied by the teaching director every day and decides to take revenge. After the revenge is successful, Yang Yang fled to a classroom where science and education films were being played. The content of the introduction was The occurrence of thunder, the above said thunder is generated by positive and negative electricity, in fact it implies the combination of yin and yang. At this time the squad leader came in, Yang Yang accidentally saw the squad leader’s small inner interior, and the voice-over continued to introduce: "Two opposing and mutually attracting energies continue to accumulate as the raindrops rush to the ground. At this time, the squad leader. I was looking for a seat, just in front of Yangyang. The light on the screen hits the monitor, forming a silhouette effect, making this scene full of innocence and childish sacredness. The voice-over also deliberately emphasized: It became more and more irresistible, and finally at the moment of lightning, the positive and negative electricity combined fiercely, this is thunder. All life on our planet should have been created by lightning..."
The light of the screen changes with the light on the screen, making the monitor like a goddess, and Yang Yang on the side has long been stunned.
There was thunder on the screen, and everything in the camera cut to the outdoor Jian Tingting, and it happened to be raining here. This was a transition by sound, absolutely!
This scene is an account of Jian Tingting's love, which exactly echoes the previous sprouting of foreign sexual consciousness, designed by God. As the boss of the company suddenly wanted to sign a contract with Daejeon, Mr. Jane, who was extremely disappointed with the company, went into battle again and embarked on a trip to Japan. The retrospect about his first love began. Backtracking is different from recollection. Recalling is to jump directly to the line of the past to start narration, such as "The Dawn Here is Quiet", "Once Upon a Time in America", "The English Patient" and so on. The retrospect in this film is through some trivial chats, allowing us to occasionally glimpse a corner of the landscape of the year, and the specific content Yang Dechang uses Jian Tingting and Yang Yang to insinuate from different age groups, so that it has explained both Tingting and Tingting. Yang Yang’s respective love (the one in Yang Yang shouldn’t be called love) again made people feel Mr. Jian’s past, and also created a montage relationship between the long shots and the long shots, which can be described as "one mirror with multiple links" . Let's see how Yang Dechang unfolds this love scene involving three stages of life. First of all, Mr. Jane arrived in Tokyo and found that his girlfriend, who was wearing the "Bo (Bei) Bo (Na) head", had arrived earlier than her. The two met Daejeon first, and then they began to be alone.
The two started shopping and eating like young people. At this time, the camera cut to Jian Tingting's side. She was choosing clothes. As the saying goes: women are for self-pleasure and men are poor for themselves. What Jian Tingting is doing now is "women are for self-pleasure", but from her appearance From the looks of it, her dress is relatively conservative, indicating that this is her first date on a date.
Everything in the camera, Jian Tingting went out, she got into the fat man's car. Mr. Jian is discussing the child's problem with his girlfriend. You see how boring it is for middle-aged people to make appointments. Every sentence is a real life problem. After that age, there is no touch. The girlfriend said that he had no children and wanted to adopt one. Mr. Jian said that he had two children, and then said a pun:
My daughter is like a lover. It is of course very happy to watch her grow up. I will still be very reluctant to know that she will become someone else's sooner or later.
Then the camera cuts to the line of the daughter: the daughter has really grown up, has begun to flirt, and if she is not careful, she will become someone else's.
Then both sides are discussing the time, and the scenes can be switched smoothly. The following is the transition of the lines, and the two scenes happen to form an allusive relationship. Mr. Jian talked about the first experience of holding hands. At this time, the scene has transitioned to Jian Tingting, and it happened that the fat man was holding Jian Tingting’s hand at this time. .
The camera cuts to Mr. Jane again, and the time transitions to the next day. At this time, the two people are arguing about the reason for the breakup: different worldviews and different ambitions. Back then, Mr. Jane was forced by his girlfriend to get into the Department of Electrical Engineering. I’m not interested in my major at all. The sad thing is that the person who forced me to do what I don’t like is the one I love the most. What’s even more sad is that I finally applied for this major and engaged in this work, but my girlfriend was not in myself. It's so unlucky to be by my side and live far better than myself! After the quarrel, the two regained their peace, and his girlfriend began to ask a question that everyone would ask but could not figure out: Why did you suddenly fall in love with me? Yes, how did a person suddenly fall in love with another person? Maybe the seeds were planted from the first meeting. Mr. Jian replied: Maybe it started in elementary school.
How is this possible, the pupils are so mature?
Mr. Jane joked: I am precocious.
"I hope I can see you every day, and I feel weird if I don't see it for a day. I remember that you dressed like others, but you look different from others." The emotion of this passage is too real. This is definitely Yang Dechang's heartfelt words. I believe that everyone who has had this experience has felt this way. As soon as Mr. Jane finished speaking, the camera cut to Yangyang. Yangyang was peeking at the monitor's swimming. This scene and the cute and silly diving show below gave us a glimpse of Mr. Jan's experience back then. After the first date, the second wave followed: Yangyang was practicing holding her breath, while Jian Tingting was choosing clothes for the second date. You should pay attention to the details here. Jian Tingting's second time. The clothes are much bolder than the second time. These details show that the relationship between the two people has progressed, and the woman's psychology has also begun to change. This is the use of scheduling to express the inner changes of the characters. It was said before that movies can only express superficial phenomena, but the audience must be able to see the essential things through these appearances. This is one of the examples.
In the next scenes, the plot has a more advanced counterpoint and mapping. The director used three scenes that complement each other to let us see the ending of Mr. Jane's failure and some of the reasons. This point has been analyzed before and will not be analyzed. Okay, love has failed. Let’s talk about business. This is quite similar to the structure of the second half of "Once Upon a Time in America". Mr. Jian met Datian and the relationship between the two developed further. At this time, the audience saw some hope and the career was in progress. Gradually improve. If this situation continues to improve, Yang Dechang will not be called Yang Dechang. The many friendships that have been laid out from the first meeting are just for the irony of the following play. Datian and Mr. Jian are both unwilling to follow the times. The filthy was gone, so the two of them cherished each other. Talking about business was a "face-saving show" of their own misfortunes. However, Datian and Mr. Jian became close friends, and Mr. Jian also promised Datian to sign the contract, but they were two. When someone took a friendly decision, and signing a contract has become a natural thing, the company suddenly called: We have signed a company that copied Datian, you quickly find an excuse to get rid of Datian and return to the company.
At this moment, Mr. Jane was raped by life again, and the murderers of the rape were these pig teammates.
People always say that people will be raped by life, but let's think about it, life is a function word, how can you rape people?
Life is made up of people, and people have always raped people. How can life rape people.
These people around Mr. Jian are some of the most common old fried dough sticks in life. They use "reality" to educate people all day, telling you that this is reality. Reality is a big dyeing vat. We must follow the dyeing vat, but they forgot : The reason why reality has become a dye vat is because of the existence of people like them. This is Yang Dechang's record of this reality with a plot, just like Yang Yang uses a camera to photograph the world in his own eyes: you can't see the world I see, so I will take it and show it to you. After the business failed, Mr. Jian returned to his motherland. Exhausted, he suffered a serious illness. After he recovered from the illness, his mother-in-law passed away. At this time, the movie came to an end. The desolation, confusion, and failure accumulated in the first half of the period are all there. This funeral scene gathered together. This kind of depression was as plain as water without any waves, but it made people feel heavier than anything. This kind of heaviness coincided with the heaviness of death. At the end of the movie, the old man passed away. Everyone failed. Love failed, career failed, wife went to the mountain to seek gods and Buddha and failed, my brother-in-law’s finances failed, and Yangyang’s genius never got surrounding classmates and teachers. Colleagues signed a pirate company and didn’t get the rewards they deserved. The conflict between Tingting’s girlfriend’s family also ended in murder. "I'm old" is over, but every audience knows that the story is not over, life is still going on, the endless traces of sorrow that the movie brings to us is still going on, only when you lower your brows but your heart, you can feel this This kind of depression, but feels that it can only be unspeakable. And the more information I read out, the more depressing the last sentence "I am too old". The first time I read it, I just thought it was a magical touch. When I read it for the third time, I felt more After noticing the details, Yang Yang's last words made tears in my eyes, and a kind of sadness appeared in my heart unstoppable.
Here, the funeral and the wedding at the beginning are symmetrical. In addition, the two roles of the baby and the old man in the film are also symmetrical. One represents life and the other represents death, and there is no line for both of them. In this way, birth, old age, sickness, death, In the past and the future, all stages of life were basically covered one by one, one by one. It's really "considering the past and the future together."
This is "Yi Yi". With my current reading experience and level, I can only read so many things. The content of "Yi Yi" is complicated, and the clues are all entangled with each other. I take Mr. Jane this one. The lines are taken out for structural analysis alone, which in themselves is too mechanical and destroys the overall feeling, so the real beauty is still to be experienced by watching the movie. Because of Yang Dechang’s anti-movie creation philosophy, his movies and Hou Xiaoxian’s movies look rather boring, and a lot of information can only be discovered gradually after watching multiple times, so I suggest that if you think this movie is good, you can play with it more. Okay. The artwork is worthy of recollection.
What does this title mean? The English name of the film is: A one and a two, and it is true that one is written vertically, one is two, one is two, two is three, three is all things, it probably means this, but I think there is another meaning, that is: Let the philosophies of life come one by one through the movie.
PS, I mentioned that Yangyang’s philosophical question is actually the reason for making this movie. This point can actually be written and analyzed. Time is limited. Let’s briefly talk about it here. Yangyang’s question is: the world that everyone sees. It's not the same, so how can I let others know the world in my eyes? So Yang Yang learned to use the lens to record the world. This is actually why Yang Dechang made this film. Yang Yang is to some extent the incarnation of the director: I recorded the world in my eyes for you on film, and repeatedly emphasized: " Because you can’t see it, I’ll show it to you.” “The experience learned from a movie is twice as much as one’s own life.” Putting such heart-and-heart content in the movie shows that Yang Dechang created the film. How sincere is the time, and Yang Dechang seems to have anticipated the world’s misunderstanding of his work. He also put this grievance and helplessness in the movie, and put it on Yangyang. The things that Yangyang shoots are not recognized and recognized by the people around him. Understand, "This is art", "It's quite expensive", "Does art make money?" Yang Yang's philosophical thinking prompted him to use the lens to record the world, but from the very beginning, this genius was obliterated. It is Yang Dechang's irony of Taiwan's education, and he is also feeling that: You don't understand what I am shooting.
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