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People in the arena involuntarily.
This kind of aphorisms that are detached from heroic martial arts novels have almost become the sighs of the lives of generations regardless of class. The people of "The Children of the Rivers and Lakes" are in the rivers and lakes. There are imaged mountains and rivers deep into the hinterland of China, and there are also a group of social people who gather to watch movies and watch movies like devout fans, a smoke filled with smoke.
In addition, the arena is unavoidable in this struggle, and the children have long love.
However, through the character inversion and the exchange of fate of the hero and heroine, it is not difficult to find that the arena in the movie is actually not decent, and there are also special gaps and ironies. When have you ever seen such a bad guy who breaks his leg casually and gets run into a hemiplegic.
In the movie, there are not only question marks issued to the rivers and lakes—not so much, but also showing the way of making a living—whether it is the haunted villa of Brother Er Yong or the power station that talks about it.
Rivers and lakes are like imported products such as national standard dance and cigars. The kind of chaotic humor and seriousness will always make people embarrassed and almost wry smiles. The emotional experience mobilized by Jia Zhangke's films are often the growth memories of the post-70s, post-80s, and part of the post-90s. Commercial films from Hong Kong and Taiwan and popular music have triggered imitating and following from the coast to the inland. Specifically in Fenyang, Datong or Shanxi, people are more accustomed to call it county experience. One piece of evidence is that the representative works of the section chief rarely take place in big cities (documentaries are not included).
Tracing back to the emotional experience that was summoned in the past and treasured in the heart, the section chief has chosen to use music without exception. How much he loves Ye Qianwen and "A Life of Shallow Drunk", just as Johnnie To loves "Broad Sea and Sky", Hou Hsiao-hsien's K Taiwanese song toasts to the past, and Wong Kar-wai uses magic on the set to create an atmosphere. The broadcast of "A Life of Light Drunk" is just the simplest move of "The Children of the Rivers and Lakes", without even matching the original source of the video.
In short, "The Children of the Rivers and Lakes" is not only my most satisfied Chinese film in September, but also one of my top ten Chinese films of the year. After the film participated in Cannes, the film was set early. Unexpectedly, until a week before the release, the situation was still confusing. Drinking wine from all over the world turned into a mixed bag. A Chinese movie in constant condition is enough to answer the questions that many people still have:
What is the world?
Jianghu is the eternal confrontation between man and time, fate and days. Just as you can't ask, Jia Zhangke will always be the section chief twenty years ago. The movie hasn't changed, but you have changed, so how can you ask a director to always do the thinking of the young and middle-aged.
Looking back on the past few years, the puzzle of the times has repeatedly affected Jia Zhangke's films, such as the banning storm in "The Destiny of the Sky" and the official earthquake in "The Old Man of Mountains and Rivers". Whether people are in Beijing, returning to Shanxi, or choosing to wander around, Jia Zhangke's films are still closely intertwined with the times and the destiny of the Chinese. On social networks, people praised Koshien 100 times, the last summer of Heisei. For the era we live in, it seems that only mist and sunset are seen. How many years later, what you remember will eventually be the year name, leader, or Xinjiang?
"Children of the Rivers and Lakes" builds a huge and complete space-time structure based on a 17-year span of a couple of men and women. Although the Rubik's Cube is flipped, it is still a three-stage style that Jia Zhangke is familiar with and good at, but the appearance is not obvious, and there is no use of subtitles and time stamps. This is very different from the four-stage style of "The Destiny of Heaven" and the three-stage style of "The Old Man of Mountains and Rivers". Don't forget, "Legend of the Sea" is an interview with 18 characters, and "Twenty-Four Cities" is also a three-stage with four virtual characters. The completeness of the form and content brings out the character and destiny of the heroine Zhao Tao.
For many people, "Children of the Rivers and Lakes" is a popular tragicomedy in which "men are afraid of going wrong, women are afraid of following the wrong man". But I don’t think this is a change, a compromise, or a moderately conservative work by Jia Zhangke.
It is first of all a film with excellent workmanship and almost no shortcomings. This kind of excellence is not only reflected in the sound design process that impressed me the most, such as the drumbeat of "A Man Should Be Self-improvement" and a gunshot on the streets of Datong.
Again, the sound here is not "A Life of Shallow Drunk" or "How much love can come again", but the camera is swimming in the mahjong room, the seamless switching of disco tracks, and the change of sound indicate the space and Changes in character emotions.
As for the saliva song "How much love can come again", you ask me, do you like it? I would say, I don't like it. However, you can't ask Zhao Tao to be moved by a song like "Chengdu" or Song Dongye at that time. Every character has his own repertoire, this is a movie.
Is "Ren Xiaoyao" a popular hit? Obviously not.
However, the young people of Datong think that the meaning of words is the coolest, and they should have a vigorous career when they are young.
There is only one set of protagonists in "Jian Hu Children". The emotions of the characters are like ashes after a volcanic eruption. The temperature is constantly cold and receding. Fans who are familiar with the long-term film can find out the information of the times such as stepping out of the factory gate.
The movie does not tell us how Qiaoqiao and Binbin fell in love-after all, even going to Hohhot to eat shaomai was not done. Just as every eldest brother must have a woman next to her, and if she happens to appear on the stage, there should also be a Binbin (a projection of "Ren Xiaoyao"). They are more like a group of people who have left the system factory and have no proper occupation. The similar fate of losing their identity is greater than their love attributes. Two people should naturally go together, just like the social idlers who team up to play mahjong.
A fight, two gunshots, in exchange for five years in prison. The movie returned to the scene of the incident twice again, on the road in front of the station, but a corner of the small town was not unusual in the past, and there is nothing new now. The biggest change was that by coincidence they became prisoners, and the two have since separated.
In the Fengjie part, only a few scenes such as escape on a motorcycle and a hotel room, Zhao Tao's superb performance is not afraid of close-up shots at all. The section chief said that two pictures were taken in the hotel room, one of which showed tears in the eyes of the two people and could not be restrained. What the movie retains is the restraint and retreat of two middle-aged people. This scene reminds me of the long-awaited reunion in Lu Le's Novel. Knowing that it is impossible, I also hide a trace of unwillingness.
During this period, Zhao Tao became a gangster. This kind of livelihood is also seen in Zhang Yang's "Leaf Return to Root". And you can't be harsh, why would someone like Zhang Yi or a motorcycle driver be fooled? The movie here is not to do an IQ test, but to set out the magic and unreality of China, and the deja vu of social news. More sense of sight comes from the section chief’s own movie. Different characters live in the same movie time and space (such as the opening of the documentary material in the first paragraph, and the original copy of the second paragraph of The Good Man in the Three Gorges).
Compared with the functional Diao Yinan and the comic Zhang Yibai, Xu Zheng's train-running role is indispensable in "The Children of Jianghu". This kind of character with a strong sense of cinema appears and disappears in a short time, catching and releasing the imprisoned protagonist. Xu Zheng's appearance is the first to hear his voice. Xu Zheng disappeared because he leaned against the window to sleep or fall asleep. Two people try to connect each other's lives with a bottle of water. Karamay does not mean anything. It is a new oil city, but it is more likely to be a remote place far enough to forget the past and put everything aside.
What do aliens and UFOs represent? Why do they always happen in the Great Northwest.
Last year, I went to Delingha, a so-called alien site. Every time people go forward and go to unknown places, they need a reason. Just as you need Haizi’s poems, or the place name Delingha itself. Of course, there can be no traces of aliens left there, but a fiction that is even more ridiculous than the movie and exaggerated.
The section chief used an article titled "Sink into the center of the earth, or fly into space" as the preface to his collection of essays in the past ten years. In my opinion, the so-called sinking into the center of the earth can of course come from "Children of Jianghu", the Quaternary volcanoes of Datong, which is also in the title-the ashes burned by volcanic eruption are the purest white. Flying into space, it is also a place where there is no trace of volcanic ash. This downward and upward pointing is the same kind of ashes ending. They can't just stay on their land like a stone.
On the factual level, "Jianghu Children" digested the hard work of the section chief for nearly ten years. Going back to Datong, although there is no way to go back, there is another kind of sadness in the movie. Disappearing at the end of the freeze frame of the surveillance camera, other independent films are also connected, such as "Prisoner" or "Dragonfly Eyes".
Qiaoqiao is still the most common prisoner of a busy life in this country.
If you try to use the vernacular, translate a certain subtitle card of Hou Xiaoxian's "The Best Time"-it is actually a poem by Liang Qichao.
it says:
"Knowing that this is the place that makes me sad, when I get here, I have to tie the boat to the shore. How many things have happened in the past seventeen years, the waves of Chunfan downstairs in the evening still make a sad sound."
I think "The Children of the Rivers and Lakes" is also talking about the same thing. Gone.
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