"Sedek Bale" is an epic film. The history it tells is said to be a one-off in Taiwan's history textbook; and most mainland audiences probably didn't know anything about it before this movie.
The "Fogshe Incident" described in the film, which occurred on October 27, 1930, was an outbreak of contradictions accumulated over a long period of time between the Saidiq tribe among the aborigines of Taiwan and the Japanese colonists. In the description of history, the film is faithful to some extent in some places: the film does not focus on portraying the cruelty of the Japanese, nor does it deliberately avoid the cruelty of the Sediq slaughtering Japanese women and children (of course, "Cruel" and "slaughter" are all terms we use from the perspective of our own civilization). If you want to watch "Sedek Bale", you'd better jump out of the civilization you are in now, otherwise similar plots are unacceptable to you.
This is not a story about "fighting to defend the country". What it tells is not how cruel and stupid the Japanese army, how our patriots wisely dealt with and annihilated it, but the brave Sediq people, for their ancestral beliefs, for their own hunting grounds, and the relationship between the Japanese and the Japanese. Field killing. When their civilization was about to die, the Seediq people chose to use bloody methods to maintain their pride. If this is a resistance, then it is not for victory. Because at the very beginning, the Seediq people were doomed to fail, and they knew how powerful the Japanese machine guns, aircraft and artillery were. However, for the totem guarded by their ancestors for generations, in order to see the "ancestral spirit" at the other end of the Rainbow Bridge, they must stain their hands with blood, and finally let their blood spill on the ancestral hunting ground. Their guidelines are also very clear: You can't let us bow to our knees in the name of civilization-even if it is savage, there is savage pride!
With the "barbarism" of the aborigines being assimilated by the civilization of modern society, today, not many people on the island of Taiwan still remember the totem or the hunting ground. "Sedek Bale" uttered the voice of heroes who have gone away, letting people know that such souls once existed on the earth. They were born to fight and for the pride of their ancestors. Therefore, as a Taiwanese film, "seeking the roots" is its main purpose-to find the roots of the indigenous people's civilization.
Watching this movie from a broader perspective, it discusses the conflict and resolution of civilizations. In the history of this world, civilizations are born, civilizations pass away, and it is common for powerful and advanced civilizations to annex weak and backward civilizations. The loss of a civilization will surely leave an elegy. Elegy can only be sad emotions, but some are intense and some are gentle. And this song belonging to the Seediq people is obviously a bloody and tragic elegy, and the film responds to it with pity and respect. They rebelled against the modern civilization brought by the Japanese, because such a civilization did not bring them equality, did not make them live better, "on the contrary, let people see how poor they are."
The protagonists in the movie are actually people who are at a moment when a civilization is about to die. They all have this dilemma: they know that they are powerless against the disappearance of the hunting ground totem, but after all, they grew up in the mountains and forests. How can people who grow up in battle forget the past? How can you lose your soul? "Sedek who loses his soul will definitely be abandoned by the ancestors!" The
film has a sincerity that many mainland films can't compare. The story behind the film is not as exciting as the film itself. Director Wei Desheng's tolerance, accumulation and dedication for this film shows that he is a director with a sense of social responsibility and artistic pursuit, which deserves our respect and touch. After more than ten years of preparations, while borrowing money while shooting, almost exhausted all of my assets, and eventually cost 700 million Taiwan dollars (about 170 million yuan). Although it is not perfect, it brings more shock than a mainland director.6 "Jinling Thirteen Hairpins" filmed at RMB 100 million.
Finally, talk about the movie version.
The Taiwanese version is divided into two episodes. The first episode of "Sun Flag" is 144 minutes, which mainly shaped the image of Mona Ludo; the second episode of "Rainbow Bridge", which is 132 minutes, shaped the crowd of Seetech. Due to the hard work devoted to the movie, director Wei Desheng seemed unwilling to waste the material he had shot. As a result, the 276-minute movie was somewhat procrastinated in some parts, especially the next episode. After the film was released in 2011, it had a poor box office in Taiwan and failed to make a profit-but it did not prevent it from becoming a great Taiwanese film. At least, it is the largest investment in Taiwanese film history so far.
The film was released in mainland China the following year (2012). Taking into account market factors, the film was screened up and down and edited into a 153-minute version. Compared with the Taiwan version, the mainland version is more compact and can be regarded as a successful streamlined version; the disadvantage is that it takes too much "anti-Japanese" as a selling point, deletes some parts that shape the Sediq culture, and adds an inexplicable ending subtitle. . In the mainland, the box office of this film is still poor, and the market performance is far below that of "The Girls We Chased Together" that entered the mainland market in the same year. However, movies have never been based on box office success or failure. Films like "Sedek Bale" that go against the trend of commerce must have a place in the history of Chinese film.
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