The Joy Luck Club is a regular gathering and card-playing event for four foreign women. It has gradually become a place to talk to each other. They have all settled on the other side of the ocean for many years. With the passage of time, wrinkles and gray hair have slowly emerged. They are getting old, too old to fight against their own destiny and life, but they still remember the entangled past in their hearts. They hope that their stories will be passed on to the next generation. Those stories originated from that ancient country. It is their homeland and the place where their souls reside.
I like this movie not only because of its delicacy, but also because of its epic feeling. It is not the kind of thrilling pleasure, but a kind of resonance that permeates my heart for a long time. This is an Oriental story, but the technique is Westernized. Even if you photograph the mansions of a prominent family in China, there is not the depth of the winding path, but it is almost a flat writing. There are several women in the film. , Or born noble or humble, there is always a story hidden in the corner of my heart. The choreographer uses continuous flashbacks and interspersed narrative techniques to look back at the time, and unravel the mysteries one by one, shaking off the ashes of time. This is a history of women's struggle and rebellion, and it is also a long lyrical poem written to women.
Amy Tan’s story has obvious lines of longitude and latitude. The lines of longitude are regions, countries, languages, and cultures, and the lines of latitude are time, annual rings, generation gaps, and memories. These warp and weft threads are criss-crossed, weaving a picture scroll with oriental colors and Western temperament. The understanding of different cultures is always a bit "fragmented". "The Joy Luck Club" is also more like an "Oriental movie" for Westerners. Like Ang Lee's "Pushing Hands" or "Wedding Banquet", people can perceive the sparks of cultural collision. In fact, nothing is more powerful than a cultural division, so the four new-generation women in the film are more independent and rebellious than their mothers. They speak fluent English, live in a free country, and live their own choices. In the end, looking back on his life, he found that he was still weak.
Women are the second sex of this society, and neither women in the old society nor women in the new era can escape the status of an accessory. In the Republic of China, they suffered humiliation, either sold as slaves, married as concubines, or had a romantic husband. They lived a miserable life. The director used a lot of pitching and tilting shots to express this. The difference in status, the women under the camera are always in an angle of being overlooked, that is their fragility, helplessness and madness; under the lens of looking up, it is vaguely those men, those representing orthodox family elders, those symbolizing authority Of the ancestor spirit. In modern time and space, women liberate themselves, and society still adheres to the traditional laws. The income gap between women and men is too big, and the AA system becomes too far-fetched and difficult. There are also women who are lucky enough to marry a wealthy family, and what awaits her is still abandoned. fate.
The camera pushed these tangled women to the front of the stage, while the men hid silently behind them. Behind the four mothers and four daughters, the father's role was collectively absent. The mother here symbolizes the maternal culture. She conceives offspring and yearns for a look; mothers are also the type of people who can best reflect the cultural heritage. They have experienced the rebellion of their youth and returned to tradition after giving birth to children. They longed for their daughters to no longer bear the misfortunes they had gone through, and placed unlimited hopes on them, and began to plan their future according to their own ideas; their daughters were born in a free country, pursue freedom and do not want to be controlled, and often find their mother's ideas absurd. It is also ridiculous, so this kind of stubbornness of opinion has formed an invisible generation gap, which is a cultural gap as well as an emotional divide. What the mother forced her daughter to do in the film, whether playing the piano, playing chess, and being financially independent from men, is already a Westernized thing and way of behavior. This is a huge contrast between Eastern and Western cultures, and it is also a way of doing things. A deviation caused by an emotion that urgently needs to be changed.
In the slow retrospect, we will find that women have liberated their physical bondage in a kind of self-defense, but at the same time wear the spiritual shackles, or brand. Women have their own paranoid side. They like to boast and are very strong, but they have never thought about how to live for themselves. They treat others with wisdom and wisdom, treat themselves with wounds and pains, and they themselves are trapped in their own world. Poor people, so they began to unanimously seek change, seeking mutual communion. "The Joy Luck Club" amplifies their experience to a certain extent, and the conflict between mother and daughter has also been placed in the main position. It is rich in drama, accompanied by many emotional conflicts, and shows extraordinary Cultural connotation and artistic tension. Immigration movies mostly end in harmony. This is the case with "The Wedding Banquet" and the same with "The Joy Luck Club". The film ends with the reconciliation of the four mother and daughter pairs. Emotional understanding and respect.
The director Wang Ying (his wife is Miao Xianren) is a Hong Kong immigrant and is very suitable for directing this kind of trans-eastern immigrant themes. The film has many characters and complicated relationships, but the handling is not messy and tepid. The cameras are mostly kept in a static position, and their composition is neat, with a lot of slow shaking to highlight the traditional oriental charm, and also reveal part of the western print style. It is a pity that there are always some false stories in the film, and part of the plot is not credible, and the performance also reflects a strong staged trace, which has become a flaw in the film. The film is supervised by Oliver Stone and includes many stars such as Wen Mingna, Zhou Caiqin, Lu Yan, Wu Junmei, Yu Feihong, and even the fourth-generation director Wu Tianming has the honor to make a guest appearance, which shows the overall strength of the film. "The Joy Luck Club" was shortlisted for the 1993 Oscars, and it also set off a "tear-jerking" frenzy in the market. It became the best-selling film of the year and helped Wang Ying gain a foothold in Hollywood.
Speaking of "The Joy Luck Club", a female story like this is originally very moving, not to mention that Rachel Portman’s magnificent soundtrack is contagious. At the end of the film, three sisters who have never met hug each other. Weeping together, I knew it was fake, tears still moistened my eyes silently, text/grey wolf
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