For example, the 3 hours and 57 pieces of "Guling Street Teenage Murder", I was stunned that after reading the upper part, when I opened the lower part many times, I saw that there were still 2 hours left, and I felt very psychologically frustrated. Turn it off again. However, after repeated listening to its fame and repeated aftertaste of the bland and indifferent mood of the upper part, I finally saw the lower part in an extremely boring afternoon without a gateway. It turns out...that I can live with two hours.
The lower part is not as painful as the upper part, because the plot gradually becomes tense, everything gradually becomes clear and reaches a climax. At the last climax, it was really unexpected. The dullness and depression throughout the whole chapter, at the end, instead of erupting like a flame, it burst out like a soft but biting icy sea water. This orgasm is really well done. This gap is very comfortable to vent. From the lines to the body language, it is very stretched and in place. I also suddenly changed my mind about Xiao Ming, who was very bored before. It should be said that I understand her. Of course she wasn't wrong. She is just a bearer. metaphor. The real reason is what the whole previous article has been talking about in a depressing atmosphere, the forbearance parents, the fighting gangs, etc., it's that whole environment. It's just that Xiao Ming played the most dominant and direct role in influencing Zhang Zhen.
In fact, incompatibility with the society, everyone will have it. It is unfair and irresponsible to just push Zhang Zhen's actions to the so-called cruelty of reality. Why did we all endure it, but he murdered? It was not resistance, but a weakness, a fear. He said to Xiaocui, "Can we be together all the time." He was afraid of change and the cold. So when we saw him shove the dagger, we were not relieved and happy like justice, but distressed. He couldn't accept the tear of innocence and growth, and passed by faith. We saw the helplessness and despair of a bloody teenager, but suddenly felt that it was better to put away all the hard-hearted and persuasive tricks that were just around the corner, because even we couldn't convince ourselves.
Besides, this is not just a story of brutal youth. This is the story of an era. It is the ugly undercurrent of the times that still has a deep imprint on the unwitting youth that cannot be separated. When watching the film, I often have an illusion that the literati father is Yang Dechang himself. Countless real "intellectuals" of that era. The twists and turns of life, the humility of the body under ideals. He yelled at the person beside the bed: "You women just don't understand the friendship between men." Then he sobbed and said to her: "I only have you and the children." Thinking of him in the empty room The leather shoes that came said: "Okay, okay, I'll write a little bit more." And in the radio section, I thought of the same depressed educated youth in "Qinghong", but the father was more irritable.
Yang Dechang's style is cold. He uses pictures instead of dialogue to explain the plot. He uses sea water instead of fire to flow emotion. He replaced the warmth that was close at hand with the warmth from the far west. The little Taibao who has not yet developed a childish voice and loves to sing is the only ray of light that haunts the whole film. His obsession is palpably ridiculous. Just like the last CD with a fairy tale halo, there is an obvious ending.
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