A few days ago, Wu Siyuan said in "Bright Summit" hosted by Tao Jie that when he was studying film, his master repeatedly emphasized: Everyone should never forget that film is an entertainment industry, and screenwriters must give people hope, whether it is a tragedy or a comedy, We must give people hope. Evil cannot prevail over righteousness, and even if it prevails, there must be hope for righteousness and kindness. Otherwise the audience won't like it. Movies don't sell.
Last year, also in "Bright Summit", Tao Jie visited Jia Zhangke. After he came to the opening, he immediately asked, "Director Jia, your film is about some low-level people. Now many audiences say that life is already miserable. The theater is to relax and dream, what do you think. Jia replied that they misunderstood the role of art. People like to see what they want to see and what they are familiar with, while good art shows you what you don't know. He also quoted a person who commented on Lu Xun's works and said that he wrote a lot of dark , but ignites every reader.
After different paths, Jia Zhangke also said that he should ignite such a positive judgment of every reader. "Old Man in Mountains and Rivers" is also a very gray movie . The audience's expectation should be that Liang Zi returned to his hometown to meet his old man after he made his fortune, but in "Old Man in Mountains and Rivers", he did not. Day by day, the spell of fate made him fall from the ground into the pit and into the well until he died. In fact, most of Jia Zhangke's films are quite gray, and it seems that there is no light or hope in sight. Whether it's Xiao Wu in "Xiao Wu", who can't even be a thief because he insists on his principles, or the deteriorating caravan art troupe in "Platform", none of them have any bright prospects. Even the films of Jia Zhangke's apprentice "the predecessors and the sages", and Yang Dechang and Hou Hsiao-hsien's films are mostly dark tones. In "Love in the Wind and Dust", their first love ended in a breakup . The boy's love and friendship in "Guling Street Teenage Murder Case" were all shattered.
These films are different from those taught by Wu Siyuan's teacher. They are another kind of films . They are not satisfied with entertaining the audience but want to inspire the audience . If you pay attention, these films focus more on the process rather than the ending. Give hope in the process. The rare and simple friendship between two men and a woman in "The Old Man of the Mountains and Rivers", the love between a thief and a prostitute in "Xiao Wu", the glorious moments of the caravan actresses in "Platform", and the desire to talk about first love in "Love in the Wind" end. All are memorable. In addition, these films are all close to the truth without exception, leaving a real record for the times. The truth does not necessarily have to be recorded in documentaries. On the contrary, some documentaries, because of the producer's standpoint, cut and cut the selection of materials, but more Not true; Jia Zhangke, Hou Hsiao-hsien, and Yang Dechang's films instead reflect a real world, and the mood and atmosphere of the times expressed by the combined effects of sound and light are more real than the reality of documentaries.
What is real? The truth is a feeling, when the "Platform" youth in flared pants shouted out my heart with a dual-card tape recorder, waiting for forever, in the desolate and dusty ancient city, two girls in dirty clothes suddenly and naturally smoked , I was instantly ignited and traveled back to that era.
By the way, "Manchester by the Sea" belongs to the latter kind of film, it's gray overall, but there's also a lot of bright color and light of hope in the process.
That's probably how it feels to be hit by a tragic fate -- a life that's stagnant and impossible to get up again. Life is hopeless, and death is impossible. Whenever I see someone say that they hold fate by the throat, someone says that man is sure to conquer the sky, that man can conquer everything, and is the strongest in the universe, I want to go up and pat them on the shoulder, stop trying, and rest. In some pits, you can get up when you fall, and in some pits, you will spend your life lying down there when you fall, and you will be buried there when you die. This is the irresistible force of fate. This kind of pain, the audience simply can not imagine. The character Lee interprets this state very realistically, interpreting what is called a walking dead with a dead soul.
What's brilliant about this movie is that it's very natural, casual, light-hearted, a small community, and people's shunning of Lee is more awe of fate than resentment at his fault. Many details of the film seem to be idle, but they are left blank everywhere, making people think. For example, after receiving the news of his brother's death in the opening scene, Lee stood for a while and then went on to shovel snow for a long time. The long shot was long enough to make people feel boring, but when his story unfolded step by step, the audience would remember this long shot. After half a minute of shoveling snow, at this moment he knew that he had to return to that sad place, and the audience could think of the ups and downs in his heart.
This movie also makes people understand that the person who holds the throat of fate, the person who fights back with the Jedi, the so-called person who can't beat me, is always Superman. In the ordinary life of ordinary people, any difficulty can knock people down.
If we must follow Mr. Wu Siyuan's theory, the movie will also give people a bright future. His nephew is the future, and it is hope. Friends run a small family business together. And Lee, after a brief turbulence, has to go back to indulge in his tragic fate waiting for death or a turnaround.
This movie is about to be drawn in China. It is a very worth watching movie. We have seen too many fake fast food entertainment these days. Such movies may provide people with a different viewing experience.
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