But these are not Tessine's 17 years old. Tessine's 17-year-old is a story of two boys who like to fight hard because they are forced to live together by their parents, and they fall in love with each other. One boy was Damian, fair-haired, well-off, or a high school student; another boy was Tom, strong and black-haired, and was adopted since he was young because he had to take care of farm work and study. With completely different appearances, personalities and classes, they turned from rivals to lovers in only three semesters, and the story that took place in the foothills of the French Alps did not arouse any ripples of hatred from beginning to end.
Wait, this is definitely not the rotten girl writing Danmei novels? Its author is really French manual director André Tessine, the one who made "Wild Reed" ? The 73-year-old Tessine, who has won the Cannes Director's Award? ——This is also the biggest impact of "When We Are 17": It is hard to imagine that an ancient and rare old man will walk like a flying posture to bring such a youthful and western story, telling a boyish friendship that only exists in Tanmei .
Danmei is the most intuitive impression. As a gay audience, it is easy to recognize the Danmei elements in the movie. For example, the director used only two shots to describe the changes in emotions: the two took shelter from the rain in the cave after the fight, and the smoke passed back and forth between lips and fingers; Damian watched Tom get naked and jumped into the mountain ice lake— -The transition from disgust to secret love is thus established. Another example is a controversial bed scene, which is entirely a brain-filled interactive article: first the black hair XO blonde, then the blonde waits until the black hair falls asleep and XO comes back. This kind of plot that only exists in comic novels becomes Although the movie screens make people laugh, it is also easy to raise questions about authenticity.
If the onion is peeled here, it will end, which is unfair to Tessine or the movie. Only by going deeper will I find that "When We Are 17" is very meaningful-arguably the most meaningful in recent years-a gay movie experiment. In fact, it raises a valuable subject: can dan beautification become one of the creative directions of gay movies? Does the Danmei literature, which has long been a special tribute to a rotten girl, have the potential to be turned into a gay movie, so that the two types of Danmei and gay are no longer so distinct? Tessine gave his idea, that is, it might be possible to use realistic techniques to shoot Danmei.
Realism is everywhere in the movie. For example, the life in the southern pastures where cattle and grass are grazing in the mountains, Damian’s mother’s daily visits as a mountain village doctor (she treated Tom’s mother is also an opportunity for the two boys to be together). The boys’ minds are even more colorful. The film advances their process from repulsion to attraction, and at the same time implies that there is always a trace to follow: Damian likes to wear blue ear studs, likes to cook, and hangs on the wall. With David Bowie and "Crazy Love"The poster of Tom; although Tom’s sexual awakening is relatively late, he often looks at Damian in the camera with no expression on his face. At first the audience thought it was disgust, but gradually they could feel the envy in their eyes-attracted because of the difference. Later Damian asked Tom why he targeted him. Tom said "I don't like the way you look at me", "I don't like your earrings", and various perfunctory expressions. In fact, the film set the tone from the beginning: the school basketball team selects players, and both boys are selected at the end; before they put on different team uniforms, they actually have more of the same-the same sensitivity, The same victorious, the same incompatibility, found each other like a pair of wolves. Such realistic details and foreshadowing are like small breadcrumbs scattered along the way, bringing the audience into the forest of Tanmei subtly. If Tanmei is a kite in the sky, realism is the thin string, which keeps the utopian element of the movie firmly in the hands of the director. In China, where Tanmei films have sprung up like mushrooms after the rain, Taisine's film and television experiments using realism to shoot Tanmei are of particular reference value. It means that Danmei authors must be clearly aware of the gap between adultery and reality, and be willing to use realistic techniques to fill the details and narrow the gap. "When We Are 17" is a cocktail that tests the taste buds of the audience. Its importance lies not in what is blended, but in the blending process itself. It witnessed the spirit of an old man who had stood in the light and shadow of the new wave all his life asking about the corrupt girl, learning, learning and then learning. If you don't realize this, and only use Tessine's previous work as a frame of reference, you will naturally misjudge the meaning of this movie.
Among all the works of Taisine, "Wild Reed" seems to be a hurdle that cannot be circumvented. "When We Are 17" dissociates the quiet poetry of "Wild Reed" in style, but the inheritance relationship can still be seen in many places. For example, the cloud of war will always loom over youth. War and death caused by war have become the catalyst for the emotional transformation of boys; women have played an important role in assisting-"Wild Reed" is a sunflower-like girl Mayt, "When We Are 17" is Damian’s mother. This elegant and gentle woman and two boys form a stable triangle of mutual support; both movies are the endings of HE, because Tessine believes that comrades have the right to happiness. . But the most surprising thing is that after the "Wild Reed" has passed twenty years and the director has become an old man, the new work still does not have any melancholy and nostalgic atmosphere (this is Bieder Sprichin's "Youth Three Memories of " Too much better " ). Tessine refused to impose his experience of more than half a century of past people, but let the boys love from their hearts and without regrets. Because I like you, I confess it to you. As for whether you like me or not, that is your business; you can hate me, but you can't pity me, and you can't like me because you have pity for me. Tanmei colors are the cleanest and youthful. It's not that people grow up and hate water, it's not that this love can be turned into a remembrance, it's not that standing in the cycle of years and looking at the projection of youth, it's that living in the present, living in a 17-year-old ideal country. In the end, Tom flew all the way through the lofty mountains, through the blue sky and white clouds, through the shade of green trees, and rushed to Mian's body and kissed him. The sweetness was enough to make the audience feel bursting with joy.
And they are only 17 years old.
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