The lighting is very good.
There are many shots, the light is so strong that it is dazzling, it is the youth with smoke in the throat under the dazzling sun.
Liu Jie has almost become Wang Xiaoshuai's royal photographer, just like Du Kefeng was to Wang Jiawei, without him this film would have faded a lot.
The soundtrack is also good. Someone said, when you look at the violin in it, the feeling of competing for battle always makes people feel that a melody will follow immediately, but there is no, it is a prelude to the whole story.
Bicycles have become a symbol of youth and life, and they are once again highlighted in this film.
I always feel that in this kind of Chinese-style youth cruel story film, it seems that the female characters are poorly grasped. No soul. It only exists for the purpose of driving the relationship between teenagers.
Their inflexible faces and pretentious postures without exception are all out of the imagination and formulation of young men.
This may be because the men in their youth have nothing to do with women, and all fears come from their own hearts.
Regarding sex, if projected on a mature woman, it can still show anger.
It was a kind of mirage mirage, an uncontrollable animal ferocity triggered by male hormones, tearing at each other between the same species.
Similarly, when will the role of a girl emerge? Only scenes related to mature men can suddenly return to the soul and become twins that combine children and women. Charming and lethal.
Because it is from a male perspective, whether it is Milan, Gao Yuanyuan or Zhou Xun, they all become pale rubber men.
It's hard not to compare a 17-year-old bike to a sunny day, but it seems like a teenager in the '60s looks like a teenager in the '90s. The urge remains.
The difference is that the 17-year-old bike is more pure, and the sunny day is embellished with some political symbols. The amplifier that Jiang Wen added in the movie to obliterate the natural feeling of freewheeling in the original book was a complete failure.
With regard to street fighting, Hutong bicycles and Paizhuan give full play to the advantages that can best reflect the bravado and bravado of the northern teenagers.
The perfect combination of inner fear and superficial impulse.
Street fighting on a sunny day is night, and it's hard to watch. But the light is very good, and the feeling of being blocked and panic can be captured.
This time it's daytime.
Several chases were indeed shot with intense tension. The youth splashed blood under the blue sky and daylight, which further accentuated the sense of cruelty.
And I think the best beauty is that no one was killed, and there was no conflict to the extreme. The sunny days always seem to have passed, and the so-called excessive is just like that. But considering that it was a special era, this kind of treatment may be more in line with the background at that time.
In short, the last two teenagers who were beaten so badly struggled, and then continued to go their separate ways. It felt very good.
Life goes on jogging.
After the panic erupted, nothing happened and everything was calm.
The last childishness of the youth is gone, and the tail of youth is like the last strike of lightning.
Li Bin's performance in this film is excellent, even better than his performance in "Kara is a Dog". Especially after completing the transformation of that kind of instant growth, the eyes and expressions are all in place. great!
There is another person, the one who played Cui Lin's brother, who also played very relaxed and very good. He doesn't have many roles, but the details are well designed. Maybe the role itself is not set enough, and it is not enough for him to play.
Everyone else is numb.
Last but not least, I can't stand that kind of shot, that is, in the middle of a red light in a sea of people (or a sea of cars and cars), and then arrows are fired across the street. Taking advantage of the faces of the silent majority, and that person (he, you, or any individual) suddenly appeared among them, just like -
Zhang Ailing said, across the gray , a buzzing, swaying sea of people.
As Zhang Chu said, facing the crowd in front of me, I have to pass through and be chic.
As the leader of C said, I walked through a city where people lived, and it seemed so unfamiliar.
That kind of feeling has the lethality of sadness in plainness. Maybe because every city is a collection of sadness.
Because I don't know when, that person (he or you) will disappear silently.
View more about Beijing Bicycle reviews
