The details are perfect, let's
just talk about the movie. If you haven't watched "Fight Fight Club", you will easily be deeply shocked by the bridge at the end of "Secret". If you have been shocked by David Fincher, you will also admit that Jay Chou combines plot innovation and structural imitation quite well.
The details of this movie are excellent. The mottled walls of the old piano room and the wooden floor inadvertently become concrete corridors. The portraits of Chopin and his lover George Sang appear on the walls four times. The apples in the hand are scattered all over the floor, the spreading vines are extremely gorgeous, and of course the yellowish hue that is very comfortable from beginning to end can be described as beautiful.
When it comes to the theme of the movie, Jay Chou can't say that he has been analyzing the "secret" step by step. He even took the risk of "It's too late" to use all the warmth, romance, innocence and coziness at the beginning as a pavement to unravel the mystery. The teacher who appeared during the four-handed play, fifteen apples that no one had eaten, the light rain that never came to class, the wrinkles and sorrows on the corners of the mother’s eyes, the lucky bracelet on the wrist; two people dancing, two people watching the scene, two people riding The car and the two listened to Cai Qin's "Lover's Tears" in the video store-in fact, everything is just one person. You will even be easily led into an unexpected plot trap by the director, assuming that this is just another sad story of the heroine's death due to panting.
Here is one thing, it seems that the sloppy worker in the video store is Huang Yida, who has disappeared recently. I don't know if I missed it.
Art spread.
In fact, from the beginning of the film to more than an hour before, I was puzzled about Jay Chou and his film, and even inadvertently despised it. But this time, Jay Chou really shocked me. In the last half an hour, all doubts turned back and forth. In the process of explaining, he even "naughty" incorporated elements of weird horror and mysterious fantasy, which made people astounded.
The unspeakable secret turned out to be an old piano room, an old piano, and an old Secret score. Play at a fast speed to go back to the past, play slowly to go to the future, the faster you go, the more you go back, and the slower you go to the future. He doesn’t need to explain why this arrangement is made. He just needs to tell you bluntly but unquestionably that this is the established rule, and you are helpless but willing to accept it—unknowingly, Jay Chou seems to have completed the journey from “will” to “craftsman”. "The transformation.
Some elements can be seen in Jay Chou’s inner artistic plot, the society’s indifference and intolerance towards mental patients in the late 1970s, the presentation performances at school graduation, bicycles speeding by on the long corridor, and the small food courts are crowded and dirty. But he was filled with reasonable, warm, touching, mottled correction fluid handwriting "I love you" and "Do you love me?" Then he used the correction fluid to forcefully point out the heart-shaped pattern, 20 years of time and space staggered at this time. Xiao Yu is slowly dying.
In addition, Jay Chou in the film doesn't care about showing off his talent and brilliance at any time. Tamkang’s best friend Yuhao and his wonderful Qin fight, because it is a completely real real shot, its impact is catching up with " 1900 in "The Pianist at Sea". The abrupt existence of
consciousness ahead of the
illusion, the unauthorized collision of consciousness, the sudden change of time and space, the pure love of interlaced ages, no matter from which point of view, this kind of film is difficult to shoot well, let alone integrate these elements into one. In the movie. First of all, in the narrative structure, insufficient explanation will become an inexplicable segment, like Richard Kelly's "Death Illusion" (not to say "Death Illusion" is not good, this is also one of my favorite movies.), over-explained but lost In order to make fun of it, treat the audience as a mentally retarded person without thinking ability, just like Chen Kaige's "Promise" ("Promise" is really not good, it is my least favorite movie, none of them).
Among the masters, there is no better than Xiamalan's "Ghost Eye", Eric Blaise's "Butterfly Effect", and of course David Fincher's "Fight Club", in a sense, Jay Chou's "Butterfly Effect" "The Secret" and these masterpieces are in the same line. In other words, he (or his screenwriter) has not only watched these movies, but also been immersed in them.
Whether the movie is a tragedy or a comedy, this is the proposition left to us by Jay Chou. From the perspective of 20 years later, Xiao Yu is indeed dead. From then on, everyone is sighed forever. But Jay Chou played that piece quickly while the sledgehammer was whistling above his head, so fast that he could return to the past before Xiao Yu could get the score. So Xiao Yu didn't know him at that time, so he saved Xiao Yu's life. The final photo reveals the happy ending. Xiao Yu took the graduation photo, which means that she did not die-this is the only theme that needs to be expressed in this colorful graduation photo. It doesn't matter whether Xiang Lun is in the photo or not.
If you understand this process, you will deeply sigh the director's ingenuity and unhurriedness in handling, so that the dazzling skills are so naturally and skillfully integrated into the plot. This time, I cheer for Jay Chou!
Looking back along this line of thought, all previous doubts have been resolved. When Xiaoyu played into the future, the first person she saw could see her-
so Xiaoyu and Qingyi were talking to the side during the fight, because she first saw her sitting on the seat of Xianglun after counting 108 steps that day according to the clear;
so Xianglun did not wait for rain in the piano room, since the day she first saw the man is brave;
so Xianglun passed the note he saw rain, actually reached the hands according to the clear , Because the classmate who passed the note can only see Qingyi in the last row (the seating arrangements are all serving this "secret", I served him cruelly);
so the fifteen uneaten apples are stuffed in In the desk, because Xiao Yu was the first to see Dayong in those days;
Xiang Lun asked Xiao Yu's name, and Qingyi smiled and said, "Didn't you already know it" because she couldn't see Xiao Yu around her.
The rest of the details, such as why Dayong knew about the existence of Xiao Yu, because he overheard the conversation between Xiao Yu and Xiang Lun’s father when he was sweeping the floor in the playground 20 years ago. Another example is why Xiao Yu took the small wheel to the rooftop without entering the house, because the mother who was standing in front of the window could not see Xiao Yu, and Xiao Yu did not have a new key to the house...
Until here, I did not enter the details of the movie. Solve the mystery one by one. If you haven't watched the movie, you will be at a loss. If you have just watched it, I believe it will suddenly come to light, and then smile with me knowingly.
Only regret
Of course, "Secret" is not a perfect work. Because he spent too much space and time to explain this "secret" and explained it clearly, he lost a lot of doubts and impulses that he had accumulated so easily that he could not have a fatal impact.
On the other hand, David Fincher’s handling in Fight Club, the unhurried narrative, the fast but squeaky truth, and of course the building that collapsed in the end, completely conquered the audience in an instant. This shock is non-verbal. Can describe. This is the master. (Seeing this, I’m afraid you should believe that Jay Chou’s "Secret" is by no means original. He borrowed a lot of the essence of "Fight Fight Club" in most of the structural arrangements.)
If you look at this movie carefully, you will still find Some omissions in details-of course, it is not easy to pick out the flaws in this meticulously decorated plot. The correction fluid plays a very important role in the movie. To a certain extent, the communication between Ye Xianglun and Xiao Yu on the desk with a pen is one of the climax of the whole play. However, the director here seems to have forgotten the fact that although the earliest correction fluid was born in 1951 and was invented by the American secretary Betty Naismith Graham, this pen-like correction fluid did not appear until the early 1990s. In Taiwan. If I were a film staff member, I would remind the director that he might deliberately add a light rain to steal a pen from the world twenty years later and return to the past scenes, which would be more convincing.
Of course, the above are just flaws that can be picked when there are no faults to pick, you can laugh at it.
Real art has
to admit that today Jay Chou has grown into a real superstar. I realized this when I listened to "Qilixiang", and I deeply recognized this when I listened to "The Seventh Chapter of the Night". One point, now the superstar has entered the field of film, the small test in "Initial D", the only bright spot in "Golden Armor", until the shock and dazzling in "Secret".
A bold parable, people may discuss in the near future: "Youth love movies, "Secret" in Chinese films is a breakthrough." And Jay Chou’s goal may not only be a breakthrough, but his crazy obsession and pursuit of art, there are I hope that in the future, an artist who transcends fashion will be born-of course, this is just a wish. After all, he is the nearest at this moment, and he is still far away.
Jay Chou scored 100 points for his movie, which is easy to understand, because it was devoted to his work. If you ask me, I will give 90 points without hesitation and sincerely, and I am optimistic about Jay Chou's breakthrough in the Golden Horse Best Director award. As far as the 2007 new film is concerned, "Transformers" is not as good as "Secret", and the rest of the films are even worse.
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