From the farewell scene at the station shortly after the opening, the film fell into a sensational and sensational frenzy. Feng Wanyu gave Lu Yanshi a "run away", Lu Yanshi played the piano and read the letter, and the two people were picked up by the "Number 5" unimpeded. Zhang Yimou packed every lyrical moment with the exquisite light and shadow as always. This is not true de-complication, let alone true calmness and restraint, and Zhang Yimou's flaws in his poor narrative have been magnified again. In the tragic relationship between Lu Yanzhi and Feng Wanyu, the highly dramatic plot condenses into one tear after another, avoiding immense grief and conflict, and abandoning the crying performance. Zhang Yimou did not find a good path, but did not. Consciously enter another kind of out-of-control, stacking together a series of plots that seem introverted but only sensational.
The final pattern of "Return" is fixed in the category of emotional stories and family ethics dramas, but this is not entirely a simple love story. Its drama roots are parasitic in the turbulent years. It will inevitably lead people to pry into the cultural revolution. . Zhang Yimou is as capable as a doctor, cleverly and calmly weed out the antecedents, and only talked about the "return" of Lu Yanzhi. The greatness of love seems to melt away everything, including enduring and forgiving the absurdity of past history. The film is not as simple as love. It provokes the audience to look at the history, passionately angry for the protagonist. Seeing Lu Yanshi holding a rice spoon to find Master Fang, the audience may be even more indignant than Lu Yanshi. And Master Fang is only a corner of absurd history, a gear of the cause of tragedy.
For Feng Wanyu who has amnesia, Lu Yanzhi will never return. This tragedy was carried to the end. The people who lost their memory guarded their memories, but the people who did not lost their memories seemed to have forgotten the history. To a certain extent, the ending saved the movie as a historical parasite. The unresolved tragedy made Lu Yanshi's continuous efforts in vain. Those vain efforts are love and are necessary for narration. However, the film's narrative method, continuous sensational and dramatic passages, seems a bit embarrassing, even frivolous. Zhang Yimou found a "tricky" angle for successfully passing the trial, but failed to find the most moral and appropriate narrative and expression.
Take time out of history, hold up the banner of love, and then tore a little bit to inform the audience; throw away the burden of conflict, and embrace sensationalism. Zhang Yimou has no attitude. He has the same attitude towards history, power, and art. The book "Zhang Yimou's Homework" tells the truth. He is a pragmatic person, and all choices are based on pragmatism as the primary principle. Even if it is a breakthrough that looks alternative, looking back, it is only pragmatic, and to be harsh, it is speculation. "Although in the photographic explanation of "The Yellow Earth", I quoted classics and made myself seem a bit culturally cultivated. In fact, after packaging for a long time, it just means one thing: how come it is different, how to be new and unconventional." In the 1980s, innovation was encouraged, visual The talent on the top made him stand out in that era.
From a pragmatic point of view, all the shapes of "Return" are not surprising. It needs to bypass censorship barriers, to reap a considerable box office, and restore the fading reputation. Tears can handle most of it, and tragedy can handle mainstream public opinion. Especially, it looks restrained on the surface, not too crude tears. Zhang Yimou is well versed in Chinese ethics, and he is also deeply bound by Chinese ethics. He is immersed in it and does not try to clear it out. When dealing with ancient ethics such as "Judou" and "Raise the Red Lantern", he is very resolute; Outdated ethics, such as the family relationship in "Return," he is as contradictory as himself, and has overlooked a lot in the name of love. Zhang Yimou may never return, because he has never been Zhang Yimou who was given ardent expectations as an artist. This is not to belittle his past achievements, but to make it easy for people to forgive his current works, such as the mediocrity of "Return." . (For Sohu Entertainment)
(Movie Detoxification Room http://hd.baofeng.com/play/240/play-239240-format-480P-drama-48.html)
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