Gao Yuanyuan and Zhou Xun, Gao's role is a symbolic character, and it exists as an element that Xiaojian should be concerned about at the age of seventeen. The only bright spot is probably at the riverside with Xiaojian, when Xiaojian kisses her The smile with eyes closed, light, with some complacent, a little scheming that is unique to a girl, but still a pure and beautiful smile that can't be helped. But the black stockings and chunky high heels under the school uniform skirt are a failure.
Zhou's character inherits the usual style, is a bit neurotic, and comes and goes in a hurry with a cameo nature. He appears as a rich man, and then disappears as a babysitter. Like Xiao Guo, he is a person who lives in the city but does not belong to the city. , Zhou Xun's performance should be at his fingertips, but the meaning and position in the whole film are a little out of place, but rather redundant.
What impressed me was the unreasonable, inexplicable, and crazy back that smashed the bicycle. It has become purely a way of venting, a desire for destruction in the bones of that age, and the violence is unreasonable. He can find such an opportunity to vent. , but Xiao Guo, who relies on that bicycle to eat, can't do it, all his rebelliousness and restlessness are almost oppressed by the barren life, tormented, of course, only almost. When he hugged the bicycle tightly and screamed loudly, his accusation and resistance were not concrete expressions, so Xiao Jian, who was also 17 years old and wanted to get the bicycle back, was stupid and could only watch He howled like a beast.
Xiaojian can steal money from his family for his bicycle, beat up Xiao Guo who wants to get his car back with his mates, and quarrel with his father; but Xiao Guo has searched again and again, facing the crowd of bicycles, even I feel powerless. But this very "axis" child refused to give up.
Beijing bicycle, Xiaojian rides the bike without the handlebars, spreads his arms, feels the wind, feels the speed, the corner of his mouth is a young smile, he starts with a posture of embracing the world, but he falls to the ground with a bloody head End, that's seventeen.
Two people ride one day for one day, which is a seventeen-year-old agreement. Finally, Xiaojian said, he doesn't need this car anymore. His seventeen-year-old symbols are moving away one by one. When what the bicycle represents is far away, the bicycle can't represent anything.
Xiao Guo still has to carry a bicycle, even though he is scarred, he will not let it go. He is seventeen years old, too little, too little, and bicycles, too many
bicycles are no longer bicycles, bicycles are all seventeen Years old is all the good and evil of the seventeen-year-old, the helplessness of the seventeen-year-old, the paleness of the seventeen-year-old, the dream of the seventeen-year-old, the paranoia, and the desolation of a whole world.
When we were seventeen, the world was not ours, but we had the world in our dreams. At the end, Xiao Guo walked through the bicycle array waiting for the green light with all the injuries all over his body. Behind him were people riding bicycles, and he could only hold the bicycle on his shoulders. The
music was beyond my imagination. The taste of the Mood for Love doesn't appear many times, but it is very enjoyable.
Later, Wang Xiaoshuai filmed "My Nineteen" ("Qinghong"), using almost the same cast.
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