who is neither humble nor overbearing, ’s expectation of this movie is largely derived from the "Arirang" recommended to me by a friend some time ago. Because of the betrayal of the younger generation and the accidental injury of the actor, he fell into self-blame. In the tent, he talked about a 5D2 for 90 minutes. In "Arirang", Kim Ki-duk admitted to the camera that repeatedly winning overseas awards greatly met his need for a sense of existence, and he has been overseas all the time. He also eagerly wanted to change the cold situation in China. This kind of mentality also determined the style of "Shengshang". The film made him affirmed in Korea for the first time, and the trend of always content greater than form also allowed him to continue to get Venice. As a result, Kim Ki-duk can prepare for the next film with his long hair.
From the story point of view, the comeback Kim Ki-duk obviously began to use the Hollywood script mode like other Korean counterparts, with a total film length of 100 minutes, and at about the fifteenth minute, the woman began to enter the life of Li Jiangdao, and Claiming to be his mother, the film constitutes the first suspense. In the hundredth minute, a woman pretends to be kidnapped by her enemy. Li Jiangdao desperately seeks, and the suspense and the contradiction between the characters reach a climax. Fifteen minutes before the end of the film, the woman's true identity was clearly explained, the main contradiction was revealed, and the final main contradiction was resolved. This kind of Hollywood script model was used by Park Chan-wook and Jiang Di-gyu in their own movies a few years ago. The most typical is the story model of the Revenge trilogy. Park Chan-wook also took two commercial commercial films through this category. Fields have also won numerous reputations at home and abroad. But Kim Kidd’s reference this time is obviously only in the format of the story. His extremely powerful vanity will never allow him to over-package the film, leaving the outside world with a trend of compromise to the market.
Although the film generally has a large trace of reference, the original Kim’s style is still throughout the film. Kim Kidd’s style of interpretation of human nature has always been unique. This film is no exception. When a degenerate person appears, his emotions will not be changed by the occurrence of anything, and he will not express his emotions. His requirements for things are only cooked, and even his physiological needs must be resolved in a self-professed way. Will pity anyone, because pity is also an emotion, and he has no emotion. This is true for most of Kim Kidd’s films. The protagonists are people with incomplete human nature. Kim Kidd is a director who is good at adding and subtracting. He always loves to gradually add the good and evil of human nature to the characters, and then let them a little bit. One point to zero. As soon as Li Jiangdao appeared, it was like a machine. The appearance of "mother" gave Li Jiangdao his first emotion. He began to be compassionate and began to have the goodness in human nature. The behavior of "sex" also began to appear for the first time. There is "evil" in human nature. Of course, Jin Jide has always been relatively vague about the distinction between good and evil, and he has always admired the way of showing neither humble nor overbearing. The emotional changes of Li Jiangdao caused by each mother's actions are the embodiment of Kim Ki-deok's addition to the characters. On the day of Li Jiangdao’s birthday, the sweater knitted by his mother was regarded as a birthday gift by Li Jiangdao, which means that for the first time, Li Jiangdao has a higher level of needs in addition to physiological and safety needs. At this time, Li Jiangdao, The last person who has been counted as having a more complete personality. When Li Jiangdao discovered that he might be kidnapped, he was "worried" and "eager" for the first time. But in the end he discovered the body of Shang Jiu. After knowing the truth, what he should have was the highest act of humanity, "revenge". When Li Jiangdao asked his mother "what is money?", the two words that his mother replied were officially Jin Ji De's People’s high-level needs reflect the understanding that revenge is a new kind of human behavior in life for Li Jiangdao. He has never realized that his actions will cause other people’s revenge, and he has never had revenge for revenge. His "mother", he was only aware of dissatisfaction and resentment before, is out of a sense of defense against a stranger, and rises to the concept of "revenge". In other words, the act of "revenge" should also be the final addition to the humanity of Li Jiangdao's mission by Kim Kidd. However, Li Jiangdao's self-determination behavior after finally discovering the truth fully shows that Kim Kidd's attitude towards The evil part of human nature did not express a pessimistic attitude, and his attitude towards Li Jiangdao’s personality is completely stopped there. He did not have the behavior of "revenge", but he had the consciousness of "revenge".
If Kim Kidd has been doing the addition of human nature to the character of Li Jiangdao, then for the "mother", it is the subtraction of human nature. At the beginning of the film, the mother came to Li Jiangdao with the purpose of revenge. That is to say, the "mother" at this time has the act of revenge, which is the highest level of consciousness that has emotions. From here on, Kim Ki-duk began to subtract the character of "mother", and "mother" helped Li Jiangdao clean at the beginning. Fan is still part of her revenge behavior. The first time her mood weakened was when she helped Li Jiangdao in her sleep to masturbate. At this time, Li Jiangdao was in an unconscious state, which means that the "mother" at this moment wanted to treat him. Revenge at the conscious level is useless. The help for Li Jiangdao's masturbation also comes from her subconscious need outside of her plan. At this time, the mother's revenge mood began to weaken for the first time, and the conscious need for "help" appeared. When she finally stood up to the tall building and was about to jump off, her mother appeared to reflect on her own behavior and began to show pity for Li Jiangdao. This shows that Kim Kidd’s mood reduction for this character has come to an end, but it’s like he didn’t let it go. Just as Li Jiangdao began to take revenge, he didn't let his mother stop revenge, she jumped, and Li Jiangdao's despair also reached its culmination.
Regarding the handling of the two feelings of Li Jiangdao and his mother, Kim Kidd maintained a consistent approach, neither humble nor overbearing, and did not give hope of rebirth after being desperate like Bergman (this is what Park Chan-wook likes), and it does not reflect Yang Dechang. The same as the destruction of self-despair. It is neither pessimistic nor blindly optimistic, just like a cup of warm water poured into the throat, it is not cold, and it will not feel warm. It is estimated that this is one of the reasons why he has been shunned by his Korean counterparts for a long time.
Kim Kidd's lens language is also the same as his attitude towards the story, not extreme and regular presentation. In "Holy Sovereign", Kim Ki-duk gave up his favorite panoramic narrative boldly, putting people under the lens of the big environment, and people looked as small and helpless as the world. If I remember correctly, there are no more than three scenes like this shown in this film. One time was when my mother took Lijiang Road to go to the street for fun, one time when my mother overlooked Lijiang Road before jumping from a building, and the third time was when the film took one at the end. Red bird's eye view large panorama. The use of three extreme shots is also the expression of the characters' three extreme emotions. The first time Li Jiangdao and his mother went to the street, it was the highest moment of Li Jiangdao's positive emotions, which is positive energy in popular terms. The second time was when his mother jumped off the building. It was an extreme manifestation of Li Jiangdao's negative energy, and it was also the first time when Li Jiangdao appeared desperate. The third time is the end of the film. Li Jiangdao's emotions are expressed after reaching the peak, and it is also the best performance shot of Kim Kidd's attitude towards the story. Except for these three big scenes, the characters in the middle shots that were mostly used in other periods have very few close-ups. Such a well-behaved performance, I wonder if Kim Kidd is afraid of being squeezed out again?
"What is money?" Kim Kim, who also grew up in Cheonggyecheon, must have thought about this problem countless times like the people in the play. Kim Kim’s downfall has done almost all the professions in the world, including the hardware technician in the film. Jin Ji-de knows how much money, a representative of material life, affects human nature, but it is not reflected in Li Jiangdao, but in the workers who have been hurt by Li Jiangdao. Li Jiangdao's persecution of them was due to the lack of humanity, not the evil of human nature caused by money. This film explains very clearly. Looking at the persecuted workers on the other hand, they signed an unfair treaty for money. They can sacrifice their hands and even their lives for the material. Of course, this is not evil. It is all part of the social nature of human beings. Jin Jide still The performance is neither humble nor overbearing. This is the thing that needs to be endured in life. People must survive, and survive must materialize, and to obtain material material must also be sacrificed. The last debtor Li Jiangdao faced before he walked up to the tall building said "Don’t do it for me." "Guilty" fully illustrates the problem. There is no right or wrong in this kind of transaction, all this is just the inevitable impact of things like money. He can make people feel revenge, just like the man with a child with his legs abolished, it can also make people give up his life, just like a man who committed suicide by taking sleeping pills.
I watched the trailer of "Holy War" before and thought it was an Oedipus plot film. I remembered a bad slang quoted by the saleswoman in "Stubborn Lord" by the saleswoman who sold the towel." Freud said, everyone They all want to marry their own mothers, but they can't achieve it because of the existence of their father and the interference of their moral sense." The film does not make a positive interpretation of Freud’s remarks. Li Jiangdao has never seen his mother since he was born. If, according to Freud, the Oedipus complex is the innate view of men, then there is no mother before. Li Jiangdao also has it in his body. This situation led to a concentrated outbreak of his emotions when facing his mother, which is why he forced to have sex with his mother. After Li Jiangdao knew the truth, would he be able to pay back? Nostalgic for your mother? Kim Kidd’s answer was positive. Li Jiangdao replaced the boy with a sweater that he thought belonged to him, and lay with the mother and son. It also shows that in Kim Kidd’s view, the boy’s attachment to his mother is not related to The innate love for the biological mother is a kind of love for women who give their own social and emotional needs.
The great success of "Holy Sorrow" is definitely related to Lao Jin's active changes, shortening the length of the film, speeding up the rhythm, using a more acceptable play mode, but the overall quality of the film has not declined. Even the always stubborn Kim Kidd has changed. Those Chinese directors who are still complaining about not making a film.
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