Seeing "Sunny Day" in terms of color is a wonderful attempt.
I was reading Kandinsky's "On the Spirit of Art" and it occurred to me that his theory was refreshing to me. He said that warm colors mean close to yellow, and warm colors approach the audience, which we can often experience in our lives. "Sunny Days" embodies even more vividly.
"Sunny Day" is based on yellow, like old yellow photos, everything presented before our eyes will bring us into golden memories. It was a warm memory of my teenage years. In real life, we sometimes have a lot of pain and sadness. This kind of warmth can heal our wounds to a certain extent. There is no cold, no sadness, no sadness. Watching "Sunny Days" is more to add tenderness and good memories to you. We can remember many evenings when Ma Xiaojun wandered over the buildings in Beijing's modern times. The yellow ocean at sunset made all our sorrows. And pain is drowned, leaving only fond memories of innocence.
We know that yellow, if stared at for a long time, can be distracting, irritating, irritable, and rude. Using yellow to describe a state of mind is a manic state, a madman who is always attacking people aimlessly until he is exhausted. This can also be found in "Sunny Day". To a certain extent, the yellow color of "Sunny Day" is mainly a reflection of the mood of its protagonist Ma Xiaojun. It tells us that the protagonist is manic at the same time he remembers tenderly. The first line of Ma Xiaojun played by Xia Yu on the camera: "Fuck me!" It has already revealed to us that he is arrogant and deviant. When we saw him and his buddies riding their old and bulky bicycles into the dark yellow streets, the reckless and dismissive eyes told us that Beijing was his kingdom, that he could do whatever he wanted irresponsibly and he was the only one. The gradual unfolding of the film proves that this is how he squandered their sunny youth: he can fight with his partners, and pick up red bricks to smash each other without changing his face; he can open other people's locks at will...
Also in the process of unlocking one day, he accidentally found a photo of a girl in a swimsuit. From then on, he wholeheartedly pursued the girl he liked. Full of adolescent turmoil and hysterical longing, including rude rape, but don't worry, it's not about morals. His love is so shattered and yet so vulnerable. The appearance of Liu Yiku makes his love more and more out of reach. This anguish and mania made him lose his way in the sunny yellow. He then turned away from his partner and walked alone towards himself. He isolates his partner, and his partner isolates him. Then there was the light blue light blue water of the swimming pool. This is a very wonderful melancholy embellishment by Ma Xiaojun.
We know that blue is a cool color. Leaving the audience and shrinking toward the center of itself, we feel a call to infinity in the blue. The desire for purity and detachment, blue is a typical sky color, and the strongest feeling it gives is tranquility. The lighter the blue, the more indifferent it is, giving people a distant and elegant impression. Obviously, Ma Xiaojun's sky is not blue, it is just a stop at a certain moment in his life, and it is still very shallow. When we saw Ma Xiaojun crawling to the incomparably tall diving platform, he suddenly became very quiet and lingering. Love turned out to be a very sad thing. The usual eloquent eloquence is very distant and deep at this time, and of course, it is also very sad and sad. But, fortunately, immediately, the film is coming to an end.
Yellow is again a typical earth color, it never has much depth. There is also no ability to express depth. Wang Shuo's original novel "Ferocious Animals" did not undertake the obligation to reveal the profound meaning, nor did Jiang Wen's adaptation of the film script "Sunny Days". Therefore, we should not dig deep connotations and reflections on Ma Xiaojun. Those who criticize the film say that it goes against human nature, that it will go astray, etc. It is sometimes very ridiculous and even pathetic.
The ending of the film is also meaningful. This is modern Beijing, or those companions, but in a luxury car, in black and white, we know that white brings a great silence, like a icy solid and continuous high wall. And the tone of black is hopeless silence. It tells us that in reality we are silent and lifeless. That "sunny day" is what our hearts yearn for.
Of course, our overall impression of "Sunny Days" is one of ebullience and refreshment. What we have experienced in the warm ocean is the interesting bits and pieces of Ma Xiaojun's youth.
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