This is a real case. On June 15, 1961, Mao Wu, a second-year student in the daytime department of Taipei Jianguo Middle School, killed a girl who had been in love on Guling Street and was sentenced to prison. Thirty years later, Yang Dechang, who was in a different class with Mao Wu, filmed "Guling Street Teenage Murder".
What is this film about? It is 240 minutes long, and 69 characters of different light and shade, all together to tell the story -
how will the boy who would rather be jade broken will face the world that meets each other!
In the young body, the stout cry of Don Quixote burst out. There is
no way, the future is vague, the past is unbearable to look back, but the choice is right in front of you. You have to choose silence or resistance, you have to choose to bow your head or raise your eyebrows. You have to trust love, or trust your lover; you ask your parents for protection, or you stand up to defend your parents. Are you born for principle, or are you born for chance; are you to be Don Quixote, the sad-faced knight, or Lamanche, the good man of the country landowner.
"For the sake of Dulcinea, go ahead."
Then, we fell in front of the windmill in the kingdom of adults.
It is said that we live in a democratic society.
There is no ruling class or ruled class in this society.
Then, I found out that there are many people in Guling Street who speak dialects.
Dialects are a good thing. Jia Zhangke likes dialects the most. The most direct function of dialects is to mark the vastness of our nation.
In other words, there are many different people living together on our side of the narrow land.
Dialects have thus become a symbol of identity that distinguishes people from different regions.
The person in charge of the film studio speaks Henan dialect (it seems), the school teacher speaks Shandong dialect, the instructor speaks Sichuan dialect, Xiao Ming’s uncle speaks Chongqing dialect, and the parents of Xiao Si and Wang Gou speak Shanghai dialect. .
When the head of the studio catches Xiao Si and the kitten, when the school teacher reprimands Xiao Si loudly, when the instructor pretends to be on the side, when Xiao Ming's uncle looks rascal, when our parents use a kind of When we were arguing loudly in a language we didn't understand, we saw for the first time that there was blood in our veins that was completely different from theirs.
Are they protecting us or destroying us?
However, even a native Taiwanese who speaks Hokkien is only a bloody killer on the night of the typhoon.
It is said that language is also used to distinguish who is the aggressor.
They were both invaders and rulers.
Jia Zhangke is also talking about the issue of aggression in dialect. In his films, those who stubbornly speak the Shanxi dialect, which is stubborn, are always the invaders of contemporary cities, and prefer to stick to their own land.
In Yang Dechang's film, the children who speak a standard "national language", facing the parents from the other side of the strait, who speak different languages, are they destined to stage the tragedy of Oedipus? Or, did Oedipus kill his father, not because of fate, but because of the generation gap that can no longer be filled?
Every time I hear that unfamiliar yet familiar dialect in the movie, I always ask myself this question.
Yang Dechang is quite famous in the circle for the use of fixed lenses.
At the same time, he became famous for his old man's almost paranoid love for voice-overs.
In the world outside the painting, Xiao Si and Xiao Ming are dating for the first time. There is a field of dry grass and the sky is clear. The two look at each other happily and smirk. Outside the painting, there are soldiers training and shooting. This kind of love Is it a war? Xiao Si catches up with Xiao Ming in the corridor, and the brass band rehearses the part of her confession: "Xiao Ming, don't be afraid, be brave. I will be your friend for life!" (The sound of the band suddenly stops) Xiao Si is timid He turned around to look at the suddenly silent world, and whispered: "I will protect you" (the band's voice suddenly resumed); Xiao Si came to Xiao Ma to settle accounts for Xiao Ming. Looking at the porch of Xiaoma's house, there is no one in the camera; at the end of the film, the father beats the second child, and when the whole family is crying and scolding, the camera is aimed at the fourth child outside the door - a lonely hug Sit on the low wall.
One of the functions of film is to change from absence to presence. The great function of montage is to combine the original unconnected shots into new meanings. The soldiers' drills and the band's performances are the transliteration of unforeseeable psychological activities into the sound that accompanies the picture. The father beat the second child, and the camera turned to the fourth child, but the voice still continued, and it was incessant, telling us that he had nothing to do with all this, but it all belonged to him alone.
What impressed me the most were two contrasting scenes - Xiao Si's father talking to the dean of training, seeking to be exempted from punishment for Xiao Si. Take her to her uncle, and fight for a place to live for the mother and daughter. The two quarreled, and the camera cut to Xiao Ming. She also stood by and did nothing;
it was the common loneliness and the common numbness. You and I are alone.
The last thing I want to say is about the lines.
Narrative montage is also known as narrative montage. It's a montage that deals with cleaning and showing the real sound of the event. That is, an objective and realistic sound montage based on the development of the story, the logical sequence of events and the causal relationship, the sound and the picture, the sound and the sound. It mainly shows that the sound inside and outside the picture exists objectively, the sound image is closely integrated with the content of the picture, the emotion of the sound modeling is consistent with the emotion of the picture modeling, and the dynamic rhythm of the sound is completely consistent with the dynamic rhythm of the picture. (Note 1)
The power of the picture comes from his silence and clarity; the power of language comes from the sound of his voice.
A very interesting point is expounded in "Entertainment to Death" - in ancient times, the way we narrate truth is through language, such as sayings, proverbs, it is said that King Solomon, the great god of wisdom, knew 3000 proverbs, and the Analects of Confucius is also a quotation In other words, it is the shorthand made by the disciple and secretary around him when the old man expressed his views; in modern times, the way we narrate the truth has been replaced by printed type. It has almost lost its impact on the altar of truth; in contemporary times, we have become less and less convinced of everything that is reported, and the text is still an absent narrator. The real, bloody picture is what shocks us more and more. The only way to a weakened nerve. Then, like waking up from a big dream, he deeply kissed the equally suspicious body beside him: "Baby, watch TV, Watsons has a discount."
Based on this, it can be speculated that the most suitable way to narrate truth in our contemporary era should be movies, because it Not only does it include the above three ways of narrating truth, but at the same time, he is a much more serious and even cruel individual than TV.
Xiao Si's father (pedantic): "It's so unfair"
Teacher (without raising his head): "What kind of stuff!"
Although we all know that the teacher is referring to tea that is unpalatable, not stuff. Is tea just tea leaves? It is said that tea is loved by gentlemen. When the villain sips the West Lake Longjing gentleman with his legs crossed and his mouth is dry, he seeks completeness and bears humiliation, and this kind of fairness is really not a thing.
Xiao Si (suddenly): "Why have you never heard of him?"
Xiao Ming (it doesn't matter): "What is there to talk about, many people want to chase me, haven't you also heard a lot, I talk about this , how would you feel?"
Xiao Si (raised his voice): "But can't you just ignore them?"
Xiao Ming (turning his head): "You can't make everyone be like you and offend people everywhere. "
When I mentioned this line, I was reminded of the scene. The two stood in the shadows on the side of the road, facing the road. One after another American armored vehicles passed in front of them. The headlights illuminated their faces one after another, then dimmed, the roar of the armored car's engine forcing them to raise their voices high enough to hear each other. Yang Dechang has been talking about how the individuals who met by chance approached each other, how they were attracted to each other, and how they finally discovered that their world was so far away. This scene is the expansion of the crack between the two, and it is also the total eruption of the two youth scars.
Xiao Si (to the film director): "You can't even tell the difference between the real and the fake, so what kind of movie are you making!" I
have never heard such a loud mockery of the movie in other movies.
Honey: "I was so busy at that time that I could read dozens of martial arts books every day. When I finished reading all the books in the store one day, I told them to rent the thickest one for me. They gave I rented the thickest one, the book was too long, and I can't remember the other plots. I just remember that in Moscow, the whole city fled, and the old bag went to block Napoleon alone, but Napoleon was still allowed to run away. I later When I saw the cover, I remembered the name of this martial arts book, "War and Peace"."
I can hardly describe how shocked I was when I saw this line. Is this a postmodern nonsense? Or use the nonsense of the screenwriter after getting drunk? Who says Chinese people don't understand black humor? I don't believe it, and neither does Yang Dechang.
Kong Qingdong said that every Chinese literati has a dream of being a knight, and I believe Yang Dechang must be the most traditional Chinese literati. After Xiao Si smashed the light bulb with a bat, the camera shot for a long time on the rope without the light bulb. The shattered lightbulb swayed, the world was still brightly lit, the camera shot backwards, and the expression of an adult who was still showing off his power just now was stiff. That was the only time our youth raised our arms and shouted, and we also have the right to say no to the rules made by adults. Although such opportunities often make our youth lives hang by a thread, shaky. The so-called youth is cruel, but that's it.
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