This time I watched Lao Mouzi's "Return", I took a seat with a cool expression, and then in the opening minutes, I started to cry from the tears in the dark corridor of Chen Daoming, crying out of control, the pear blossoms brought the rain to the heart, and the middle was removed. Because a man kept making calls and was forced to interrupt his emotions, he screamed at the best product. I was always sad. I was sad watching the ups and downs or the long monotonous narration on the screen, even though the sad emotions were mixed with it. Many thoughts about history and reality, I have to admit that at that moment I gave up resisting all tears and finally I am not entangled. The peace of mind after the fragmentation of ideals means that you can brush away the criticism and deepness, just like the choice of a national teacher. It’s the same smooth path. This time we’re going to talk about what’s allowed to see. Don’t struggle anymore. Don’t mount gold. The whole world is the prostrate of descendants and grandchildren. Crying is also a kind of to their past and our present. Tribute to.
The first thirty minutes of "Return" is enough to completely wash away Zhang Yimou's infamy for not telling stories on the back of "The Love of Hawthorn Tree". There is no such silly and breathtaking method of subtitle advancement, no more straightforward narratives and long-winded narration. The beginning of the article is from the cultural revolution characteristic dance scenes that Director Zhang is most happy and best at. The madness of the era will suddenly overflow the screen. Accompanied by the cryptic explanation of the background of the times, the drama conflict was pushed into a small climax. The simple kinship of wife-husband and daughter-father was easily shattered by the harsh whistleblower-reward and personal-organizational social control. The video language in the first part of the film is depressive and sincere. The actor's performance details and the director's rhythm control are very good. Gong Li has been worthy of twenty queen trophies by virtue of the confrontation between the inside and outside of Chen Daomingmen. Thirty minutes to the heartbreaking plot of the station, the end of the world, crying to the point of collapse, I had to rub my eyes and I didn’t understand why this was over, because at the moment the camera was flattened, one end was overwhelmed. Lu Yan knew the unyielding head, and at the other end was Feng Wanyu, who fought with flesh and blood and iron-faced symbols regardless of the politically correct class stance. What was onlookers was the Wuyang crowd dressed in the same cool color, about the unconsciousness and lingering life of animal life under totalitarianism. The impossible truth is condensed in this frame of cruel beauty. If you see here and say that Lao Mouzi has no ambitions and feelings, it would be really nonsense.
With the huge ballet collective dance as the knot, the horn of victory finally sounded. The people holding the red book fluttered towards the stage. The big slogan on the stage for the tyrants to divide the fields was flashing the ironic glory of the passing years. I have to stand up and wipe a cold sweat for Director Zhang, and then, then, then the best part of this movie is over.
Next, Lao Mouzi used excellent photography and soundtrack, plain plot, restrained sentimental and procrastinating narrative to present a warm eight-point love story about "waiting to return" that is very different from the previous paragraph in style. It’s still pretty good, with a little technical and plot shining, and the setting of tear points is much better than the tomato stems of the small steel gun. The pursuit of human nature has been as deep as possible under superficial intentions, but unfortunately it only stops at intellectuals. The little trace of pride and self-esteem deserves praise. In the end, many of the movie-watching feelings, guided by the relevant thinking of the central idea of the middle school Chinese education, obviously did not live up to the weight of this new story in the whole movie. After watching the interview with the main creator of the film, and then watching those comments about the unswerving friendship and the precious friendship of the "generation", to be gratified for the director, the positive energy is still passed on.
This is "Return", and its biggest contribution is Gong Li's perhaps best god-level performance so far. He told all he could say, he didn’t say much what they wanted him to say, it seemed to say a lot, and it seemed to say nothing, just like many stories in this era, except for the courage to burn a few jade and stone, fifty steps Between Baibu and Baibu, there is probably only a small distance between the edge of the Kang and the Kang. The one centimeter he moved forward would not allow 99% of the audience to not nag about "ten years" of true love after watching the movie, but to take a closer look at the longer "twenty years" of Lu Yan. All about the destruction and taming of the thought prisoners; the small step he withdrew could not bring back 0.01% of the slippery fishes who opened the hands of "Jiabiangou Chronicles" one day . All things that are still and flowing are hard to cause ripples from this movie. Just like those lives crushed by the wheels of history, for the latecomers and the direction of the wheels controlled by the latecomers, their tombstones are even hypocritical symbols. No, just a handful of unforgettable thoughts and occasional untimely nagging. It's more like Feng Wanyu's memory of pain, never remembering it again.
Jia Zhangke said that making movies is my way of approaching freedom. Later, when I watched "The Destiny" with a dozen foreigners in a small theater in a non-mainstream theater in Germany, and then people reposted the call sign for his pirated version and the release indefinitely on Weibo, I thought whether it was him It's me or us, and I'm a light-year away from the dream of approaching freedom.
Zhang Yimou was very straightforward and chose a good shot.
Yes, in the already dreamless century, from the narrator to the listener, they all detoured back to the century of dysmenorrhea, acknowledging weakness and acknowledging the burden of this prosperous mind, so that you can let go of all the "upward" thoughts like I did. Obsession, sincerely shed tears in the theater, for detoxification, not for dreams.
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