When I was young, I played a few boring "sneak attacks". Stack all the dolls on the bed, and then exit the room. A few minutes later, he tiptoed to the door, held his breath for a while, and then slammed in. But unfortunately, whether it is a sudden attack or a peeping through the door, the dolls will always keep the posture before I go out, with a smile that never fades on their faces. I have to admit that my cherished partners are lifeless. They can't speak, they won't help me with homework, and they won't come forward when the little master is in danger.
Later, I read a fairy tale by Andersen. In the middle of the night, when the world was quiet, the toys started to move around and threw a lively party in the garden. When it was about to dawn, the master wanted to wake up, and then returned to the original place one after another, as if nothing had happened.
It turns out that almost every child has a similar fantasy.
In 1995, the first part of "Toy Story" was released. Pixar has fulfilled the imagination of children in the way of movies. Movies have become a veritable dream-making tool. We travel among them, daydreams are in contact with reality, and we feel a kind of freedom similar to being out of gravity.
"The Taste of Cherry: Abbas on Movies" wrote: If God has given us something, it is imagination. There is obviously a certain way to dream, otherwise why do we have this ability. The ugliness of the world is right in front of us, whether we want to see it or not; but when we filter things and overcome our sense of restraint, when we dream and fantasize, we will gradually understand our true feelings, beliefs and desires.
But when I grew up, when I revisited the "Toy Story" series, I noticed an inexplicable sadness-we borrowed movies to maximize our imagination, and these toys have become our fantasy (or desire). Imprisoned prisoner.
In the movie, there is an unwritten rule in the toy world: all things have spirits, and toys have life, but in places where humans can see, you must not speak or move, and act as an accessory without subjective consciousness. Under such disciplines, to accompany the little master and bring fun to the little master has been sublimated into the most noble and sacred mission of a toy.
This setting can be interpreted from both sides. Optimists believe that the places invisible to human beings are still full of beautiful things. There are countless wonderful small worlds that boil on the earth outside the human world. They don’t need to be discovered by us, but they share weal and woe; pessimists Then I feel that the human gaze is so tough and intrusive that everything under this gaze has lost its vitality and vitality.
There is a double gaze hidden in "Toy Story 4". Humans stare at the toys, and we, the people sitting in the cinema, stare at the toys and people on the screen from the perspective of God. This has to lead to a farther association: whether we human beings are like dolls to God. The movie is very interesting. I like to take close-ups of the eyes of toys that are being watched and manipulated. When Hu Di and the shepherdess baby reunited, the focus of the picture was their eyes; when Bonnie left Hu Di in the cold, Hu Di, who was lying on the ground, looked straight into the camera; Gaby doll finally waited for her destined little master , The camera stayed on those big eyes for a few seconds. Those eyes, without exception, are still and hollow. The more it should be at the moment of ups and downs, the more the audience needs to rely on their imagination and understanding to help the toys fill their emotions.
Before the release, fans were more worried than expected about "Toy Story 4". The third part has come to a perfect ending. How can the fourth part surpass the previous work instead of just fried rice? Pixar handed in a satisfactory answer sheet. If the motifs of the first three parts are "childhood" and "loyalty", then the fourth part is more enlightening. While acknowledging that "loyalty" is still a virtue, the fourth volume does not output a single value, but shows that as a toy, there are still multiple value choices and respects each choice tendency.
Gaby dolls were born noble and exquisitely crafted. She has a very traditional dream. She has been waiting for a child's toy all her life to share a happy childhood with her.
The baby shepherdess retains good memories with her little master, but she is independent and courageous, yearning for freedom, and finally gave up a child's room and chose a broader world.
Hu Di, who has always been known for his "loyalty" and "chivalry spirit", has completed his ideological change in this movie. Once again caught between his lover and his master, he finally made a choice from his heart.
In the whole film, what resonated most with me was the newly added character Cha Cha. He is made of waste from the trash can, with a weird appearance and crude workmanship, so that all the characters question Cha Cha "not a toy, just a fork." But Chacha's self-evaluation seems to be more humble than a plastic fork. He knew that he came from the garbage dump, and he only wanted to be a garbage, so that the most desired place for a long time was the garbage can. He said how good it is to be a trash, "warm, comfortable, and safe." When Hu Di confided to him how he felt being left out by Bonnie, the seemingly stupid cross talked about the most philosophical thing in the film. In a word: "You look like rubbish too." It is inevitable to think of the "mourning culture" and "abandoned youth culture" that have flourished in recent years. Modern society is developing rapidly and abnormally. Young people are overburdened and become a waste of doing nothing and not being paid attention to. It has also become a luxury wish.
When I wrote the title of this article, I thought of an exhibition I saw not long ago—Tong Wenmin: The Escape of Discipline. Discipline and escape have become two sides of an actor. Under the current narrative and context, the body may become the final subject of action. In the third ending of "Toy Story", Hu Di's original owner grew up, and their toys were sent to another little girl. From then on, the toys and the new owner lived a happy life. The seemingly standard fairy tale ending implies a crisis that will be repeated-no matter how many owners are changed, children will always grow up and get tired of toys, and toys will never get out of being selected, left out, and then abandoned. Fate's circle. If the first three parts are about toys agreeing with rules, accepting fate, and refining meaning, the fourth part is a kind of gentle rebellion. Hu Di gave up returning to Bonnie. This was the final acceptance of the reality that he was no longer favored, and it was also an active escape from fate.
Watching this series of movies, it's hard not to miss your own toys. Especially for the toys that I lost, I now prefer to give them an open ending: they accidentally saw the outside world and realized the beauty of freedom, so they planned an escape. In my relationship with them, there is no more abandonment, no more betrayal, only endless beautiful fantasies, covering the time that was sealed in the dust of the wooden box.
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