After watching this film, it took a long time to calm down. The story is moving, the soundtrack is clever, and the protagonist's acting skills are outstanding. The setting and lighting are quite delicate, rich and restrained, but also hidden in mystery.
1. Opening
The title is very oriental, the paper is simple and elegant, and the pattern is simple. Interestingly, butterflies, dragonflies, thin plums (explained below), pipa, flutes and other elements that run through the whole play are all implied. Every element hints at the truth and the ending, and it is revealed to the audience from the very beginning.
There are several ancient texts in this picture: The old is immortal and immortal. Immortal, moving; moving, entering the mountain, so the person who made the characters is also near the mountain. The Huoxian outsider is called Jibotou, and the Narcissus outsider is called Yishuluo. The previous two sentences explaining the immortals are from the chapter "Shi Changyou" in a book of characters (dictionary) "Shi Ming" in the pre-Qin and Han dynasties. I read it with a romantic charm of the mortal world, I don't know if it is borrowed to refer to the immortal couple. I found a similar version in "The Sequel to Ancient and Modern Buddhism and Taoism" written by Zhisheng in the Tang Dynasty, about the cultivation of Taoism: "Seven people often practice the holy life. I often practice Brahma. I think Shuluo narcissus is an immortal. If I want to enter the river and sea, I can't drown." Friends "Love me Han and Tang Dynasty" pointed out that the sentence of fire fairy narcissus comes from the "Guang Hong Ming Ji" compiled by the eminent monk Daoxuan of the Tang Dynasty. Thirteen, the same system with different sides within the eight. Thank you so much! The crew took the latter sentence to explain the "immortal" of the former sentence. The two sentences spanned nearly a thousand years, and the meaning was smooth and not inconsistent. I am afraid that non-masters can't do it.
The red note reads "Mei is thin and has no false bones". Originally thought it was the original work of the crew, but fortunately, the great god friend "Love me Han and Tang Dynasties" corrected me. This sentence is from Shi Dakai, and the next sentence is "Lang Baoxiang Yu Lan Shiqi". It seems that Shi's calligraphy is directly used in the red paper. Combined with the next sentence that did not appear, Shoumei, Lanshi, etc. have the meaning of elegance. In addition to being able to describe the scenery, the two sentences also have the taste of a gentleman. However, there are thousands of verses with similar artistic conceptions. Why did the crew choose the last sentence? "Mei" and "No false bone" may be the focus. Of course, it does not necessarily correspond to the original meaning of this poem, after all, it is an artistic creation. However, the borrowing of creation may also have deep meaning. Soulmate is an elegant translation of "skinny plum". Mei's pattern appears in Song Liling's objects again and again, and this sentence is naturally Song's self-disclosure. The love of "Shoumei" is the mutual attraction of souls, not just the encounter and need of skins. Throughout the make-believe, a hoax-like story, Thin Mei has no false bones. Can Mr. Gao see clearly? This red note, from the very beginning, has revealed the sincerity and sincerity of the protagonist's heart. To be able to confess in such a veiled manner, the Chinese masters of the crew are very skilled. In a forced drama, Song's innocence and true feelings become more and more distressing.
At this point, the screen is closed and the screen is opened.
2. Exteriors
The film's framing and lighting are worth scrutinizing. The images below are screenshots from the movie, without retouching. It can be found that the director's lighting is very restrained, and the light and shadow element of "darkness" is extremely delicately used, which is reminiscent of the appreciation of darkness in "Praise of Shadows". Not only is it in line with the real situation at that time at night, but it also contains depth and layers in the "darkness".
3. Inside the courtyard (Song Liling's home)
The director's interview said that Song Liling's home is all set up in Canada. The grasp of detail is amazing. The small courtyard structure has an old Cantonese-speaking woman as a servant, and it seems that no more people live in it. This is important because the gender of Song has been naked in the details, it's just that Gao doesn't pay attention.
There is a bicycle (28 inches?) in the lower left corner with a crossbar, men's. Only Song and the servant lived, but the servant didn't seem to be able to ride. The only thing that makes sense is that it is usually riding by Song. This bicycle has also appeared later, once when two people traveled the Great Wall, and Gao used it to carry Song; and when Gao was drunk, he ran into Song's house at night, and after the servant opened the door, he saw it parked in the yard. Song's gender is hidden in the details, and I wonder if Gao really hadn't thought about these hints.
Come back and enjoy the built-up interior scene, not only the rooms, but also the courtyard corridors have been built, and the details are enough. Once again, praise the temperate lighting, which is very flavorful.
4. Interior scene (Song Liling's home)
Song's home can be described as quaint, full and orderly. The most puzzling is the hanging method of the couplet with the hidden head. The picture below shows that it is hung on the inner side of the entrance. I don’t know if it is because another one has been hung opposite the door, but it doesn’t taste right.
This was Gao's first visit to Song's house. He paused at the door and slowed down. It seemed that in addition to looking for Song's figure, he was also touched by the elegant arrangement. The couplet is "Lilou Taixie sings softly and slowly, Linglang Pei dances in circles, step by step", hiding her head, not only appreciates Song's professionalism, but also points out Song Liling's name. but! If Mr. Van Gogh knew more Chinese characters, or really paid attention to this couplet, there would be no follow-up story. Another shot saw that "my brother Liling Yazheng" was clearly written. Critics have already noticed this.
Regarding Song Liling's name, there are no Chinese subtitles in the play, but the couplet's hidden head and "Liling My Brother" are clearly written. Song's name appeared clearly in the form of a seal on the letterhead written to Gao, full of details.
In addition to being clearly stamped, the letter was written in French. In addition, the shading of the letter paper is a pine pattern. According to the "Love Me Han and Tang Dynasties" correction by the great god and neighbor: the letter paper is a Beijing Ruiyunzhai painting paper, with poems and paintings. I deeply admire!
Of course, the props of the heart, as well as the couplet of Miaoyu's judgment that other film critics have discovered, hangs next to Song's father's shrine and becomes the background of Song's sitting position. It is written that "people who are too tall are more jealous, and those who are too clean are equally disgusted." The song in "A Dream of Red Mansions" is called "The World Is Difficult", and this passage is "beautiful in temperament, and talented as immortals. It is rare for people to be solitary by nature. I don’t know if people who are too high will be jealous, and the world will be too clean.” The whole poem is also suitable for the intelligent and aloof Song.
Song Liling's other arrangements at home are also very careful. The dark patterns on the window paper look beautiful in candlelight; the teapots and cups are also in the pattern of plum blossoms (everywhere reminding the audience of thin plums, thin plums); the picture below shows Song's elegant living room.
5. Interior view (Gorrenny's office)
Gao's obsession with Song, and his self-delusional intoxication with fantasy, may well be based on Gao's own love of Chinese culture. But it is only the surface of love, such as objects, stories, the fantacy of women who adhere to etiquette and sacrifice for love, etc., without deep understanding. This also explains why he can't read (or doesn't care at all) the couplet with the hidden head, and his Chinese listening and speaking skills are so low that he can't communicate with others. Gao's love for Chinese utensils can be seen in his office furnishings, with tables, chairs, vases, and hanging paintings all showing Chinese aesthetics. (It was also taken in Canada)
Does the ambassador to China use Chinese furniture? Obviously not, it couldn't be clearer than the office of Boss Gao Renni. Tables and chairs, bookcases, paintings, and furnishings are all European and American styles.
Undoubtedly, Gao himself has a superficial fondness for Chinese culture, which may also make it easier for him to fall into an emotional vortex with oriental fantasies step by step with Song.
6. Galeni's home in France
When Gao appeared in his French home, Gao was already quite down. It can be seen from the dilapidation of the building, the food, and the furnishings of the home. Gao played Madama Butterfly records at home. And his home still has Chinese elements, such as a bamboo hanging painting (the director only used thin plums in Song, and everything in Gao doesn’t seem to have this element), and of course that poem.
Here, the "Three Friends of Suihan" of pine, bamboo and plum gathered in the props.
There is a calligraphy and painting in the house in the upper right corner. The poem is "Wandering in the Early Spring with Lu Cheng of Jinling" by Du Shenyan of the Tang Dynasty. The gentle air urges the yellow bird, and the sunny light turns to the green apple. Suddenly hearing the ancient tune of the song, I want to touch the towel." The last two sentences are the most clear. However, due to Gao's shallow understanding of Chinese culture, he should not understand the meaning of calligraphy and painting. These two sentences appeared when Song Liling fled for thousands of miles and reunited after a long absence. I really admire the skill of the master of props and scenery.
7. Waking up
If everything stopped here, it would be a happy ending, but the true story has a follow-up. Courtroom section, the composition is reminiscent of the semicircular structure formed by the audience and the stage during the performance of "Madame Butterfly", especially the last performance of Galeni.
Of course, there is the most tense paragraph in between. The moderation of the set is again at its extreme, because there is no set at all. The narrow space inside the prison car was unadorned on all sides, with only iron nets in the middle. I had to admire the way the crew handled it, gave up all environmental backgrounds, and allowed the two leading actors to contribute an equally restrained performance, always whispering hurtful things to others, but all kinds of complex and pure emotions rushed out.
Finally, once again express the intentions of the crew's set props. Incredibly, the art team is almost entirely Western, mainly from Canada. Almost the art director Carol Spier, the set designer Elinor Rose Galbraith, the art director James McAteer, and the costume designer Denise Cronenberg. The soundtrack Howard Shore is also Canadian. They must have invited (or some of them) experts who are proficient in Chinese culture! And it is a senior among seniors! What about their names?
Thanks to the neighbor "Love Me Han and Tang Dynasty" for correcting the mistakes and providing more information. Worship!
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