Another interesting phenomenon is their attention to sex, or the attention to women’s fate and sexual psychology. I have seen a piece of information saying that the Lu Xun brothers were at odds because Yu Taixinzi complained to Zhou Zuoren: Lu Xun spied himself. In "Ju Dou", sexual voyeurism is magnified to the point of tension. In the benchmark human nature of the Chinese, the desire for voyeurism due to repression has always been strong, the voyeurism of the privacy of others and the voyeurism of sex.
The tone of "Ju Dou" is sad, and that kind of despair is the unique symbol of the iron house. Such a movie, in terms of viewing psychology, does not have the slightest enjoyment of beauty, but rather shame, despair, being tied up like a snake, entangled, and can't get out of the nightmare weight.
Some people say that the fornication and incest in "Ju Dou" symbolize the liberation of human nature. I don't think so. The human nature reflected in "Ju Dou" is a very low state of existence, and it is also a bit like the chaos in China now, a kind of blind sexual impulse.
The killing of the father in "Ju Dou" cannot be called a tragedy because it lacks sublime, but it is more painful than tragedy. I think Zhang Yimou will shout out last, which is the same as Lu Xun’s first: save four children Character.
The reason why "Ju Dou" is unbearable is that the story never has a tomorrow, and the sky will never be bright. Even if they give birth, they are just repeating their humble and humble destiny. They seem to never be able to break through such a curse, and they will never be able to break through. Looks like a cage of property and decent dignity. This is the sadness of Chinese generations.
I don't want to say that the story in "Ju Dou" is the seriousness of China's long history. Patriarchal society exists all over the world, and it also has its warm and pleasant side. But more, it is unconscious cannibalism. Yes, unconscious cannibalism is worse than conscious, and it is harder to wash away the wheel of fate of humiliation.
The filming scale of "Judou" was not large, and the line was the same as the later "Blind Mountain" and "Blind Well". The difference is that the 90s when the film was shot was a booming period for new historical novels. At that time, the films also dig deeper into history and criticize the roots of inferiority. In the same impression, Huang Jianzhong's "Good Family Women" and so on. This seems to be a unique trend of thought in the 1990s. In the 1980s, there was more total Westernization, and in the 1990s, it was oriented towards historical introspection. At that time, there were a batch of autobiography of the fifth-generation director. Chen Kaige's biography was very impressive and he also possessed strong critical thinking.
The difference is that as time struggles, Chen Kaige still walks blindly on that road of criticism and speculation, while Zhang Yimou has turned around and ran towards another kitsch road. The directions of the two are very different. In fact, different paths lead to the same goal.
Because of this, neither Zhang Yimou nor Chen Kaige became Lu Xun. Even in the heyday of criticism, Zhang Yimou has the weakness of excessive senses. His movie shots are too decorative and text is better than quality, and he will feel the same when he sees more. In this regard, he is very similar to Li Kui, the three-sided axe, both of which are hitting hard. Once it is gentle, it is a little bit of suspicion of fraud. Have you ever seen Li Kui wearing embroidered shoes?
Zhang Yimou's lack of compassion for the characters in the lens is the biggest difference between him and Lu Xun. Lu and Zhang looked similar in their faces, and they were equally aloof. In terms of Zhang's growth environment, it is almost impossible to not be influenced by Lu.
But Lu Xun was able to write "Sorrow for the Dead" and "The Lonely", "Wandering" is a step further than "The Scream", and Zhang Yimou stays more in the state of "Scream", more like the movie version of "Blessing" + "Medicine". The characters in his movies are more like insects under a magnifying glass. They can't hide under the lens. All the vanity and embarrassment can't be concealed, which makes people unspeakably pitiful.
In many cases, the quality of a movie is not the reason for the movie, but the director’s idea in the director’s mind. In the past, people often scolded Zhang Yimou for exaggerating the ugliness of the country, but no one has scolded Lu Xun like that. It can be seen that the ages are different and the angles are also different.
I don't care about this, just sigh, the evolutionary history of the fifth generation of directors, did not become Lu Xun like Zhou Shuren.
Okay, let's stop talking nonsense here.
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