[Introduction to film selection background] Lou Ye is a sixth-generation academic director in China. His films pursue survival and restoration, consciously abandon national and personal myths, break free from the shackles of history and culture, release people from the symbols, and expose life. the true state of. The works are self-satisfying and self-isolating to a certain extent, and the social life displayed is too narrow and detached from the real life of ordinary people. The film I chose was his "Suzhou River", which won the 29th Holland Rotterdam International Film Festival Grand Prix (Golden Tiger Award) in 2000, "Best Film" at the 15th Paris International Film Festival Best Actress" award. There are two reasons for choosing this movie. One is because the content reflected in this movie is very touching. I have watched it several times, but every time my inner feelings are very complicated. The second is to analyze the techniques and techniques of this film, especially the academic film techniques of a group of independent filmmakers represented by Lou Ye. The film has won many awards abroad, but received very little attention at home. But this movie, like "The Devil Is Coming" and "Sunny Day", is a very good mainland art film, which is why I chose this very unpopular but highly artistic movie. [Story Summary] The film is about an ordinary cameraman in Shanghai who thinks that other people take pictures for a living. At the beginning, the Suzhou River in his eyes is a dirty river passing through Shanghai. Life. One day, the owner of a bar approached him and asked him to take a picture of a mermaid swimming in the store. The photographer gradually became acquainted with the girl who played the mermaid, and learned the story of Ma and Peony from her mouth. Motor is a gangster postman who takes delivery. Once, the main household asked him to send a little girl Peony (played by Zhou Xun), after several times, Ma and Peony became acquainted and fell in love. But soon Mada was involved in a kidnapping conspiracy. The kidnappers attempted to blackmail Peony's father in exchange for money. The kidnappers were Ma's underworld friends. They asked Ma to take the opportunity to kidnap Peony on the way to deliver Peony. Ma was unwilling to do so, and under pressure from friends, he had to agree. After getting the money, Peony knew that she had been deceived and jumped into the Suzhou River in desperation. The last sentence was that she would turn into a mermaid and disappear from sight. Madada was also thrown into prison for his involvement in the kidnapping. When he came out, many years had passed. But he still misses Peony. He borrowed the delivery time to inquire about Peony. Once drinking at a bar, I found that the waitress (that is, the girl who played the mermaid mentioned earlier) looked like a peony, so I tried to get close to him. The photographer knew about this and felt that Ma was robbing his girlfriend, so he hired a thug to beat Ma. Ma Da gradually realizes that the girl playing the mermaid is not the peony he is looking for. Asked the photographer to use his relationship with the police to help him find Peony, and the photographer agreed. Soon, the photographer received a bottle of wortga wine with bison grass, and learned from the letter that Ma Da had finally found Peony in a convenience store with his help. The photographer thought this was the end of the matter, but he did not expect to receive a summons from the Public Security Bureau to identify the person who died in the car accident. Ma Ma came to the scene of the accident. It turned out that Ma Ma and Peony had drank too much water and were taking Peony with them. While passing the bridge over the Suzhou River, the motorcycle fell into the river and the two drowned. The girl pretending to be a mermaid also came to the scene, and finally believed that what Ma said and Peony was true. In the end, she also left the photographer to see if the photographer would go to her like a motor. [Story Structure] The story of "Suzhou River" is actually mixed with two love stories - the love between Ma and Peony, and the love between the narrator, the photographer "I" and Meimei. These two stories are connected by the narrator's narration. The first love: The deliveryman Ma Ma approached Peony for criminal purposes, but the love that followed left him at a loss, whether to love it or not, he couldn't figure it out. At the moment when Peony jumped into the river, maybe he understood what love was - at least Peony's love for him. After being released from prison, Ma Ma struggled to find Peony. During the search, Ma Ma met Mei Mei, who looked exactly like Peony, and Mei Mei's boyfriend, the narrator. After some twists and turns, Ma finally found the peony that had evaporated from the world for many years. The two of them drank again and died unexpectedly. This is the main thread of the film. The second love: It is relatively simple and is mainly completed through the narrator's confession. Meimei is the "mermaid" of Century Love Bar - a kind of actress who performs in the transparent water cabinet of the bar. Soon after the narrator "I" met Meimei, the two began to live together. However, the narrator may not think it is "love" at first. From his quick response, "Should we break up now, or do we break up after we have sex?", we can see that in the new cohabitation era, it's just cohabitation, who would Think about the word "love"? After Ma and Peony died, Meimei also left. This is the secondary line of the film. [Character Analysis] 1. Meimei Maybe a woman like Meimei is often seen in the city, a woman who doesn't believe in love. Maybe it was because of the scars of love that she was able to make a living alone in a big city. The hard life forced her to do some low-level jobs. She didn't believe in lasting love, because those were only found in love stories. . In the end, she left the photographer, either because she wanted to verify the love between them, or she just didn't want to continue this so-called love and wanted to start her own life again. 2. Ma Ma Ma is not the kind of man who is very understanding, gentle and considerate. It was only after Peony jumped the Suzhou River that he discovered that he was completely in love with that little girl. Of course, there is another reason for him to look for Peony, and that is to seek forgiveness from Peony. If Peony dies, his heart will never be solved. So whether or not Peony is really dead, he will keep looking for it for the rest of his life. 3. Peony Peony is a girl who has never gotten any kind of affection and warmth. She has long been accustomed to her mother's early death and her father's absurdity. It was not until she met Ma Ma that she felt real happiness. When Ma Ma deceived her and betrayed her love, the world could no longer find a reason for her to live, so she could jump down the Suzhou River with such a calm expression. Even if they reunited later, they didn't both die from drinking and driving, can they go back to the way they were before? The answer is yes, nothing can go back, and Suzhou River has become the end of their lives, both the beginning and the end. Peony and Meimei are completely two kinds of people, but they are connected because they have the same face. The difference in family backgrounds caused the two people to be very different, but they are consistent on the issue of love, and they both want to obtain an eternal Love, but has been hurt to varying degrees, can not escape the pursuit of love. Ma Ma approached Peony with a purpose at first, but in the face of the death of his loved one, he took off his mask. It turned out that he was also very persistent in love. He always believed that Peony would not die, and search became the only one he lived. reason. 4. The photographer "I" the narrator" The structure feels clean and neat. 2. The color tone of the entire film is gray, the film gives a rough grainy feeling, the lens keeps shaking and unfolding, the narration narrates more instead of the actors' language communication, I don't know if it belongs to "Aspirin" Kind of narration movie. I guess the whole film was shot with an 8mm or 16mm camera, so the quality of the picture doesn't seem to be too realistic, and sometimes the movement and rhythm of the shots are a little weird, but even so, the shock of the picture is enough. The picture style of the whole movie is a bit like Iwai Shunji, but more rough than Iwai Shunji. The long shot at the beginning of the film cannot be missed no matter what - it is not looking at a river through the lens, it is looking at a city through a river, and the love and hate that happens in a city. Untimely shaking, the focal length has to be pulled in and out, and the picture is clear and blurry, which really shows the story. The still shaky picture, the medium and long shots, the close-up camera position, and the close-ups, his shots feel like a contrast to Director Jia Zhangke's long shots. The face of the terrified man has a repentant expression, and the face of the smiling woman has a mocking gaze that does not distinguish the truth from the truth. The water splashed all over, everything was quiet, and it became the past. In front of the camera of the subjective lens, the close-ups and silhouettes conveyed to the fullest successfully illustrate the alternation of life and death of the two girls, very much like the women in the works of Japanese grotesque photographer Nobuyoshi Araki. Especially when photographing Zhou Xun's face, the changes in expression and the angle of photography brought color to the film, and people couldn't help but admire the role of photography technology. In addition, the rhythm of the film is fast, the jump is strong, and the dialogue is short and concise, not sloppy. Rough picture, shaking and restless, such as people's curious and inquiring eyes. While exploring others, you also explore yourself. It's a peeping gesture, because you don't know what's really yours. In the film, a camera was used to record many scenes on the river, and the camera was aimed at the lower floors of the city, and it used a very documentary shooting method. This paragraph gave people a lot of expectations. However, at the end of this paragraph, the lens fell. On the reflection on the water surface, this reveals the director's intention: Belle Ye has no intention of looking for a piece of history in this city, a kind of truth, all he cares about is a mirror-like love story under the dilapidated urban landscape. Finally, I would like to talk about two scenes that I feel particularly shocking. One is that Peony fell from the bridge of Suzhou River and fell straight into the river. The shots were all shot in one go, and Lou Ye's talent was unmistakably written on these two extraordinary shots. 3. Language 1. Dialogue The beginning of the film touched the hearts of the audience. The conversation between a man and a woman, the woman's voice is a little hoarse, and the man's voice is a little careless. "If I leave one day, will you look for me like a motor?" Yes. "Will you keep looking?" Yes. "Will you always find death?" Yes. "You lied..." This is the first shot of "Suzhou River". It is also the main line of the film. Then the director begins a meaningful statement: "On this river we can see friendship, fathers and children, loneliness, the birth of a baby, and... Seeing the mermaid . . . at the end of the river flowing into the sea." And then the narration, again, brings you into this sad movie. 2. Sentence (1), "I know that everything will not last forever, I think I have to go back to the balcony, I know that my love story will continue, I would rather close my eyes alone and wait for the next love!". Perhaps the last sentence of the film is the essence of it. This should be the choice of modern people. I don't like his choice. When can we go to every corner of the city's streets and alleys like a motor looking for peonies, and ask everyone we can to find our lost love. Although Ma Ma was just a gangster, he vowed to go out and do a career, and in the end he was only one of the transport workers, although Peony was just an ordinary girl with two ponytails and red and white sportswear, although they There are not many stories, but Ma Ma can spend the next few years to find her and find the love that left, it is enough. How many people can spend their energy to find their own love? Modern people's concept of love is contrary to Ma's love, but it is similar to the narrator. Is this a kind of loss of love? Once, we looked forward to the appearance of a person, even if it was impossible, we would wait eagerly in our hearts. When can we be like a motor, when she leaves to search desperately, search the whole city. (2), "Suzhou River, a river that 'precipitated the city's prosperity, past, legends and all the garbage'." Although Lou Ye seemed very confident when he wrote the film, the narrative style and self-righteous narration through the camera always reminded people of Su Tong's novels of the past. However, in general, among the domestic films, "Suzhou River" belongs to the more mature type, the story is not dull, and the narration and dialogue are also very suitable for the tastes of friends who like Wong Kar-wai. The so-called accidental became a "classic" lines". (3), "If I leave, will you come to me like a motor?" Hearing this sentence, I suddenly feel that women are stupid when they believe in love. Just like Meimei. When she doesn't believe in Maa's love story, she enjoys it. When she knew it was all true, she broke down. Meimei longs for love like peony. So Meimei left. We have reason to believe that Meimei's departure was her effort to find true love. We also have reason to believe that Meimei's departure is just an escape. And the note she left was just a joke she played with herself. Meimei is a woman. Stupid, vulnerable, neurotic woman. Her choice seems to let me see the shadows of myself and many people around me. Choosing to leave, choosing to run away, is nothing more than leaving a temporary self. In the end, we are still us. Looking back, I don’t know who we fell in love with. That person is still in love. [Movie Theme]-----About Love Suzhou River is Lou Ye's masterpiece to show his talent. No matter it is the lens or the meaning, it is a superior work. It brings us a very real question about the authenticity and durability of love and how we should treat it. These problems are difficult to solve, especially now, they have special significance. The film Suzhou River brings us a different visual impact. Meimei left me, leaving a note, "If you love me, come find me". Apparently, she was shocked by Ma Ma and Mimi's love, and hoped to continue the same romance with herself and her boyfriend. However, as the narrator, "I", as shown in the title, hesitates. On the one hand, he misses Meimei and hopes that he can reconnect with her; on the other hand, he does not want to go to her. Because he felt that everything would not last forever, and Meimei's departure would be a relief. He would rather close his eyes alone and wait for the next love. This ending shows the director's talent, leaving us a room for imagination, how love should be treated. This ending is cleverly conceived, quite unique, and echoes the beginning of the film. For most people, true love must be taken seriously. However, what is love, it is difficult for us to say clearly. I can feel it, but I can't explain it. Lou Ye noticed this question and asked it. Although he didn't answer it completely, he gave a suggestion: FIND ME IF YOU LOVE ME (if you love me, you will come to me). Maybe the question of love is not as metaphysical, profound and serious as life, death, and redemption, but this does not deny that it is a kind of thinking, at most it is just a different state. Who can shy away from thinking about the eternal theme of love? I am afraid that no one has been qualified to claim to have completely solved this problem since the dawn of mankind. However, there are indeed some people in this world who have an unprecedented contempt for love as one of the themes of literature and art creation. I don't know whether this contempt is out of instinctive conceit or conscious hostility. Once, we could look forward to the appearance of a person in a street, even if this is extremely unlikely, we will wait eagerly in our hearts. I am used to looking for the shadow of that person among the crowd, and I often see each other at a glance, but secretly happy. If you love someone, even if you don't speak, you can just love them blindly, or just say one sentence, then it will be unforgettable. However, when can we be like a motor, when she leaves to search desperately, the search of the whole city and the whole city, or like the last, close your eyes and wait for the next love. The film doesn't tell us what love is, it only tells us what love is and what we ask of it. Are you willing to continue your love story or wait for the next one. Everyone can come up with their own answers in their hearts. Maybe no answer at all. I think about pure love and expectation, if no one else is looking for it, maybe it is just nostalgia and nothing can be done. Suzhou River witnesses all this. This is the best domestic film I've seen in the last year. In my eyes, it is completely comparable to Western movies. Walking in the winter sunshine, its music, its shaky footage, its careless and sad dialogue, the dirty, beautiful, warm and very kind Suzhou River has always swayed in my heart. I am entangled, I know, I have to record it in my pen, of course, at this moment, the process of recording is also a kind of joy. The name of the film "Suzhou River" may not be important, maybe the river is just a metaphor. Or some fragment of someone's daily life, or some space of our existence, where we are in love, obsessed, lingering, agitated; where we betray, regret, pain, despair,; where we are grow old and die...
View more about Suzhou River reviews
