Mr. Jiang Wen, as the screenwriter and director, filmed "Sunny Days" in 1994, adapted from Wang Shuo's novella "Animal Ferocious" published in 1992. To be honest, as a serious and responsible artist, Mr. Jiang Wen has basically faithfully reproduced the original work. He not only faithfully reproduced the background of the times in which the story takes place, as well as the specific space in which the characters live—Beijing, a more specific small The environment - the specific style of the military family compound, and Director Jiang also quoted the text of the original work in the narration, as well as very small language details, such as the "circle" spoken by the characters in the play - referring to picking up girls. As a film work, Director Jiang also completely portrayed the characters of the main characters in the original work in the language of the film, and basically designed relevant important scenes according to the original work - such as Milan's bedroom, and the main storyline, and It is very easy to notice that some fragments of stream-of-consciousness techniques in the original work - such as the vague memory of the "Lao Mo Restaurant Dispute", the "pool babble" at the end, etc. are also vividly and creatively reproduced using film language. . What's even more rare is that Director Jiang did not put on some abrupt clothes for the characters on his own initiative or say something out of the era. On the point of adapting the original work, I think Director Jiang Wen and screenwriter have established a reputation for some of his peers in the film and television industry. It is a good role model. I suggest that when CCTV spends a lot of money to adapt famous works, it can consider whether to ask Director Jiang to come out, or ask him to check it out, and stop filming Saint Aunt as a dusty woman and heroes as hooligans. , the master has become a comical supporting role.
Wait - I seem to be digressing! Come back quickly.
etc! Not only did I seem to be digressing, but "...now that my mind is as clear as a bright moon, I find I'm being hypocritical again". What the hell am I going to say? "As much as I want to tell the truth, the text interferes with me. I am saddened to find that technically I cannot reproduce the truth. Every word I use means more than what I want to say. Feeling, even the most accurate of an adjective, retains its meaning for other things when it is used by me." Why is this "faithful adaptation" of this work not as confusing and depressing as the original, and why did Director Jiang use a word "sunshine" that is completely different from Wang Shuo and his novels, or even has the opposite meaning ?
hold on! "God is in the details", take a closer look!
Suddenly found that Ma Xiaojun has a name, yes, the "I" in the novel never has a name, and friends never call him by his name, it seems to be a mysterious person! ——This reminds me of the traditions of some ancient religions, they think that the name is where a person's soul resides, and other people can't know a person's name unless they are close relatives. And Ma Xiaojun's parents also appeared. They are a normal family and have a great influence on Ma Xiaojun's life. A stern but loving father, a respectable mother, and a steadfast love—indirectly explaining a few children joked that "your father was demoted because of gender issues", which made the children feel Evil turns to ignorance. Apart from the seemingly mysterious family, he no longer has a complicated and tedious transfer experience-the details of some indescribable privileges that imply and cannot be proved-although Ma Xiaojun is still a bad boy who plays truant, and is still a boy who obviously fights and hides. In the end, he accidentally hurt someone else's child, but he became more distinct and simpler. Ma Xiaojun is just an ordinary child. In that era when studying was useless, he did some trifling jokes that were not only normal in that era, but also not a serious problem in the current era - truancy, sliding doors, smoking, fighting, of course The most important thing is the "circle" of girls - all of this becomes very easy to understand and natural after the mysterious atmosphere of the novel is removed. It is just the venting of the vigorous energy of an adolescent boy, especially about "sex". Being ignorant and impulsive, Guan Jiu's theory has existed since ancient times, let alone what is wrong.
On the other hand, Milan's mother in the novel does not exist, and the grandmother, who is only mentioned once, appears in Hunan dialect. This family is simple, but it is no longer the family that allows boys to find their own daughters. There is no longer the contrast between Milan's permissive parents and my strict parents, a reflection of the ego-psychological suggestion and narcissistic tendencies that are clearly imprisoned in adolescence. In addition, under the quiet interpretation, Milan's "awl-sharp" eyes also become real instead of the author's self-perception, and can no longer be blurred or denied by the future stream of consciousness. In dealing with people and affairs, Milan has also become more vivid and traceable. The sense of mystery she retains no longer comes from herself, and has completely become a conjecture that a little boy who has a crush on cannot understand. Milan, an image of a healthy woman with normal psychology or even a rare healthy woman in that era, is no longer an idol who is blurred or even allows the author's emotional changes to become beautiful or ugly.
One of the details is: in the novel, when Milan first came to Ma Xiaojun, but after chatting with Liu Yiku (Gao Yang in the novel—a name that obviously did not belong to that era), Ma Xiaojun felt uncomfortable. So the following conversation took place.
"Why don't you talk? I can leave if you don't talk."
"...Do you like chatting with men
you don't know?" "What do you think?"
"..."
" You're quite jealous! Okay. Now, am I that kind of person?" The
whole conversation is between two friends of the opposite sex, frank and clear, Milan is not only smart, but also very good at communication, and the characteristics of women are delicate and good at soothing others. This kind of detail about Milan is absolutely absent from Animal Ferocious.
Another scene is right before the above scene, Ma Xiaojun saw Milan and Liu Yiku chatting, suddenly became aggressive, started to expose other people's shortcomings, and climbed the chimney, which reminded me of animals appearing in the spring 's behavior - by no means ironic, but on the contrary, I saw in it a masculine beauty, a primal urge to live. This power is not found in the novel "Animal Ferocious" - where animals are castrated.
The third detail is that Ma Xiaojun rushed into Milan's house and overwhelmed Milan on the bed, but retreated in the face of Milan's active counterattack, crying "power!" The performance is very good, but it is not like "finishing what I want to do" in the novel, and it also gives Milan "eyes and lips that were swollen by my beating". According to the theories of psychologists, rapists all have deep inferiority complex and anxiety about their own sexuality. I think this probably reflects the psychological content of the two subjects of the story, which is why I prefer to use men. Not the reason for the title of the man - I'm sorry to use such an unscientific thing as psychoanalysis, but for now, when it comes to sexual psychology, Freud is still the most reliable.
Other differences include, Ma Xiaojun went to the downstairs of Milan's house in the rain to hug two people; fell into the mud pit crying to express the pain of loss, everyone was normal the next day, which replaced me being rejected by everyone at the end of the novel; Diving in a similar form, from the compromises of ten meters to seven meters to five meters in the novel, has become an imitation of Liu Yiku's previous diving, a symbol of male adulthood; no more "silent sobbing", it has become A more visually striking representation of death floating on the water surface—death, is also the beginning of life.
There are many, many more. For example, Liu Yiku's experience in the counterattack against Vietnam has sublimated this image, so I won't list them one by one.
But it must be mentioned that the silly boy "Gurum". This is a character that does not exist in the novel. After searching for a long time, I couldn't find the meaning of "Gulum" and "Oba", so I can't explain this very conspicuous hint in more depth. But what is certain is that when the grown-up Ma Xiaojun shouted "Gulum", the answer they got was "Silly ×" - Gulum was sober, but we became "Silly ×". Our sun doesn't seem to be shining anymore.
I am a layman. I have no understanding of art, but I want to make an inappropriate analogy. Art is like cooking. The key to distinguish. In the recollections of two men of almost the same age and with similar upbringings about their first puberty, we identified subtle but crucial differences, tasted completely different flavors, and read out what a mature and confident man should be The difference between a man who has tolerance and a psychosexual disorder and causes other psychological adverse reactions.
Here is a review of "Sunny Days".
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