"Lust, Caution" can be said very well. The Tao Jie of Apple Daily talked about Ding Mocun and Zheng Ruping all the way to marketing, the sensory world and aunt's postmodern life, three nonsense. Moon, everything is detailed, everything can be said, but the most important part - the movie itself has never been discussed.
Of course, I have no intention to analyze the film itself. The lust in the film is intertwined with the apocalyptic scene. Only a quick glance can also see the charm and background of Ang Lee.
Writing these, I think Ang Lee is quite interesting. Nowadays, there are no more than five directors who can maintain the standard of Chinese (Chinese) filmmaking. Ang Lee is 100% unmissable, Jia Zhangke has an 80% chance of not making a mistake. To Qifeng's problem is not whether he will lose his standard. But he has a mature style and faces a bottleneck problem. Zhou Xingchi is a character who was killed in the Xili, at least in the next three films, he will not be exhausted; and the rest, Tsui Hark, Xu Anhua, Tan Jiaming and other new wave characters have been formed, good or bad, and they can't make waves. . John Woo---All I can say is, God bless him! Chen Guo is too persistent. If he follows his own artistic line, it is probably very depressing; Peng Haoxiang is still a hope, but not necessarily, he is a person who can hold a stable standard, and his own style is also It's unpalatable for the public. Er Xiaobao, has ideas but no talent, Liu Weiqiang and Mai Zhaohui are too fickle and unsteady, and Chen Musheng and Tang Jili are not eligible to be included in the discussion, and cheap Wang Jing---- is dead.
As for Zhang Yimou and Chen Kaige, they have never been the same as the masters, let alone acting only at the box office now, it doesn't need to be regarded as hope. Feng Xiaogang is very smart, but he has no talent, so he gave up. Tian Zhuangzhuang is very angry, no one is sure about whether it can be released, and how it will be released. Turning to the sixth generation, it is almost the same as being banned, killed and recruited. It can't go very far, Jia Zhangke is the only seedling.
Taiwanese movies—not to mention—were short of breath when I mention them.
In fact, by mentioning so many people, I just want to explain that Ang Lee can be expected, and can be expected by the public, and can take into account the box office and theatrical art (please note, I am talking about theatrical art). And now that he can do this, he is probably the only one who looks around the film industry.
There is also a reason for this. For example, in the Mainland, it is impossible for Woo Yusen and Tsui Hark to appear in the 1980s, because throughout the 1960s and 1970s, potential Zhang Che and Hu Jinquan wrote model plays. Woo Yusen and Tsui Hark were stillborn naturally. Another example is that it is impossible to grow Hou Hsiao-hsien and Yang Dechang in the mainland, because the mainland has not been occupied by Japan for 50 years like Taiwan. In the academy, the future directors have red blood flowing in their bodies. Who should read Yasunari Kawabata? With Mishima Yukio?
Of course, this is just one of the reasons.
Therefore, what kind of directors and what kind of films are produced in an era are inseparable from their previous cultural and political life experience. There are also reasons why Ang Lee became Ang Lee (Lee Ang's background will not be repeated, and his cultural experience is labeled in each of his films)
"Lust Caution" is intuitively "Lust", Those three explicit scenes, eroticism and eroticism, have been talked about in the streets and alleys, but no one has carefully savored the tone of Li Jing's silence in this confusing color of all beings-how much is tea, how much is coffee, and How many are lying on the couch burning opium?
One: Hou Hsiao-hsien's texture:
I can't think of a better word for the so-called texture. That way, I have seen photos of Brigitte Lin when she was seventeen or eighteen, and she was immediately shocked. The quality of being silent is that of Lin Daiyu, who is alive and well. It was only later that she found out that she had actually filmed "Dream of Red Mansions"----Li Hanxiang's "Dream of Red Mansions", but it was just a conspiracy of Baoyu.
Ang Lee said, "A Dream of Red Mansions" cannot be filmed. I think this sentence should be that Ang Lee can't make "Dream of Red Mansions". Because he, like Hou Hsiao-hsien, is a person who takes pictures in a small room. I have to grab the mortal individuals like ants and tell them how to eat, how to sleep, and how to walk on the street, delicate and subtle. The characters in "A Dream of Red Mansions" are so complex, the relationships are so intricate, and the narrative is so huge, this is probably where Ang Lee can't start.
Looking back at Hou Hsiao-hsien, the mahjong table scenes in "Lust, Caution" have similar light and dark tones with "Flowers on the Sea". It can be seen that things with similar temperament, even breathing.) As we all know, Hou Hsiao-hsien's royal script is Zhu Tianwen, and Zhu Tianwen himself is Hu Lancheng's apprentice. Hu Lancheng has always been brooding about Eileen Chang's talent and achievements in writing. During his last days in Taiwan, he pondered Eileen Chang's words day and night, thinking about surpassing Eileen Chang (so he had the book "This Life and This World"). "), Zhu Tianwen took up his mantle, and saw Aileen everywhere in what he wrote, the only difference is that desolation is still desolate, but not so indifferent (Li An is not indifferent either, Li An is a warm-hearted, and where the two are in common).
Li An and Hou Hsiao-hsien are also filming people with patience. They drink kung fu tea, which is completely different from the sorghum wine brewed by farmer Zhang Yimou. They have to use extravagant and large tones. Show your enthusiasm. The emotions they give to the shots are all lurking and slow. The unfolding of the story and the passage of the shots are all detailed and trivial, and there is no meaning of shocking ghosts or gods. This is based on the same gentle and slow texture unique to the East, but the image structure established by Ang Lee and Hou Hsiao-hsien is still different.
Ang Lee's film is based on drama. His theatrical structure is dramatic and Western-style; Hou Hsiao-hsien's film structure is documentary, with a civilian-style perspective, and an oriental film-style lack of turbulence; so we can see Ang Lee's reliance on close-up and close-up , and also piled cultural symbols in the same scene to create a strong conflict; Hou Hsiao-hsien was the one who abandoned the narrative climax. His shots are full of bits and pieces, always keeping a certain distance from the person in the painting, and he doesn't face the intense story conflict. Therefore, compared with Hou Hsiao-hsien, Ang Lee's rhythm and editing will be faster and more jumpy.
The same warm route is handled differently by them. Ang Lee likes to arrange emotionally broken scenes at the end of the movie (the coat hanging in the closet in the broken arm, Mr. Yi sitting in the dark in the dark with tears in his eyes), and the Hou Hsiao-hsien-style ending should be, In the morning, the sun rises, and a new day begins. The day repeats as before. People get up, go to the toilet, wash up... (Hou Hsiao-hsien always suppresses his emotions to the end and turns them back into daily fireworks.)
Part 2: Eileen Chang's robe
It is said that Zhang Ailing studied "Dream of Red Mansions" at the age of eight, and "Red Mansions" is undoubtedly the highest point of novels in Ming and Qing Dynasties. Zhang Ailing of the Republic of China only inherited the "Red Mansions". Since Ang Lee said, "A Dream of Red Mansions" cannot be filmed. That Zhang Ailing's novel is also not easy to shoot. What's hard to shoot is not Eileen Chang's story, but Eileen Chang's character.
The remake of Eileen Chang's novels started with Hong Kong New Wave directors, and the most notable symbol of the New Wave movement that began in the mid-to-late 1970s is that many directors returned to Hong Kong to make films after receiving professional education abroad, and they brought new techniques. And the concept, and one more thing, they are very young. And Zhang Ailing is a typical Shanghai-style literature. To speak Wu Nong's soft language, you need to see the intertwining of gongs and dances, singing and dancing. The smell of foreign perfume, the charm that is hard to grasp when you turn around. This is what the New Waves don't know. For example, Qin Pei and Jiang Dawei were both born in Shanghai. Brother Qin Pei can speak some Shanghainese, but his younger brother, Jiang Dawei, can't. The old Shanghai that Wong Kar-wai is infatuated with is his mother's cheongsam and old vinyl records, which is far from Eileen Chang's Shanghai.
In 1984, Xu Anhua remade "Love in a Fallen City". It has been 32 years since Eileen Chang moved to Hong Kong in 1952, 36 years since Li Hanxiang left Shanghai and arrived in Hong Kong in 1948, and 47 years since Shanghai Tianyi Film Company moved to Hong Kong in 1937. Eileen Chang, who was born on the other side of the ocean, devoted herself to researching "Dream of Red Mansions". The sea is an old dream. Against such a background, the novel "Love in a Fallen City" was also selected, and the failure of 37-year-old Xu Anhua was doomed.
After more than ten years, it was a thankless task to remake "Half Life". "Eighteen Spring" and "Love in a Fallen City" are both novels with a full story structure. Besides, Eileen Chang was writing at the peak of her creation. The rigor and compactness of the novel itself is no longer a problem. Shooting along the lines of the novel, there is no space left for the image in the text, and the Zhuji in this novel is going to be a flaw in the film. Alas, this sister Xu is really a loyal fan of Eileen Chang, so she was chasing and shooting like this. Although it is a bit stupid, it is still hard work.
Back to "Lust • Caution". Really, I haven't read this novel yet. I heard that it is not long. It is a work of Zhang Ailing in the later period. It took 30 years to correct it. I guess it is Zhang Ailing's work after she left Shanghai. At this time, she should have seen the world and withered on her own. The writing is more in her heart, and she no longer cares about the skills of writing (Zhang Ailing is a very smart person, I think she spent a lot of time writing novels in Shanghai. Each novel was carefully conceived, not written randomly. She knew how much control she had over the story, so she basically didn’t write long novels, mainly Medium and prose. She is such an arrogant person, what she writes will be carefully crafted, and she will not show it casually.)
So "Lust and Caution" should be very different from "Eighteen Spring" and "Love in a Fallen City", in other words In other words, Eileen Chang in her heyday was writing for the world, and this "Lust • Caution" should be written for herself (nonsense~ This sentence is nonsense, please ignore it~). Therefore, the structure of the novel should not be as strict as "Eighteen Spring" and "Love in a Fallen City", and due to the limited space, it is impossible to be very detailed in details. Therefore, this novel provides a stage for the film with the end of the world as the background, and There is plenty of room for re-creation of the scene.
Apparently, Ang Lee just borrowed Eileen Chang's robe, but it was her own story
.
2. The heart and lungs of the singer in the world, this is also what Zhang Ailing does not cut, she is sophisticated.
3. In the end, Mr. Yi sat in the dark for a long time and didn't see the tears in his eyes until he walked to the bright place. This is not Eileen Chang's technique, nor is it a character that Eileen Chang's pen can write.
The story Eileen Chang will tell is: This is the world, and that’s how men are. Women think about this, want that, and after several calculations, men are still the same, and they can still live their lives with peace of mind—don’t forget, Eileen Chang It is mean, and even a little love in life has been taken away.
Therefore, it is not Zhang Ailing who tells the story here, but Ang Lee herself. Who said "Ang Lee is Eileen Chang's bosom friend"? ? ! ! Just based on the truth that Ang Lee is a man, it is impossible for Ang Lee to be the confidante of the grudge Zhang Ailing. Li An ignored Zhang Ailing's background, what he wanted to tell was his own story, and what he wanted to tell was his own warmth. Zhang Ailing is the footer of the "Dream of Red Mansions", which depicts the individual life stroke by stroke, but what can be seen throughout the chapter is the world of the world, and Li An is a student studying abroad, the world is only the background, he is talking about the West The theme of the film---individual life, human nature.
Zhang Ailing is one leaf who knows autumn, and Li An is one who knows autumn. At the end of the story, the two of them have gone thousands of miles apart. Ang Lee is smart, he doesn't provoke Eileen Chang, but borrows her robe to play his own play, Ang Lee's play.
The third: If the opium cigarettes of the May Fourth Movement
were to mark an era in the history of Chinese culture, then 1919 must be the dividing line. After that, China abandoned its traditions and completely westernized it, which changed the Chinese people's living habits and values for thousands of years. The cause of the matter can be traced back to the opium smoke in 1860. And in today's "Lust • Caution", the May Fourth opium cigarette once again staged a subversive drama.
The subversion of tradition I am talking about is not a vigorous bed movement, but in the face of war and conspiracy, the film shows the concern for the individual, while the national righteousness advocated by the rulers for thousands of years, the country's survival completely withdraws from the center of the story , reduced to the stage background.
China has always been a country where people's lives are indiscriminate. The more troubled the times, the less valuable people's lives are. From "Three Kingdoms" and "Water Margin" to "Railway Guerrilla", "Heroes and Sons" and even "Red Sorghum" in the 1980s, they all narrate from the standpoint of war, country and nation, and sing blood and behead their heads as a feat. . However, no one has ever put down their posture and stood on a personal point of view to experience the damage caused by war to life. On the other hand, the Western literature and films after the Enlightenment mainly describe personal life experiences, and not many involved political perspectives.
"Lust, Caution", a film that Ang learned in the United States, was shot in old Shanghai, and it speaks Mandarin mixed with dialects from all over the world, but the way of acting is completely westernized. When a white-faced college student like Wang Leehom bluntly inserted a knife into Qian Jiale's belly, Ang Lee's position became clear - there is never a side of justice in war, and human nature will be displayed in war and killing Show the dark side. This has always been avoided or rarely touched on by mainstream war-themed films in the past. And at the end of the movie, patriotic youths are lined up under the dark sky, facing the same dark and bottomless abyss-----yes, war is one person slaughtering another person , It is the darkness of some people that devours the darkness of others. Whether it is Kuang Yumin or Mr. Yi, no one wants to walk out of this darkness and see the light again.
As a result, Ang Lee has completely changed the way Chinese films show war.
If it weren't for the trembling tears in Mr. Yi's eyes, I would probably have thought that Ang Lee was a heroic literati who was sympathetic, sympathetic to the world, and reformed the right to speak in films. But wait, Li An's warm and affectionate background has not retreated. A woman in the setting sun, smiling and casually stroking her ring, a man sitting in the dark, listening to the ringing bell, getting up and facing the shadow. Ang Lee is not Kubrick, he does not despair of human nature, and he still retains a little "Little Bolshevian sentiment" (or to balance the box office). This is like a pioneer who raised the banner of the revolution, but turned around and burned a tube of opium on the bed, letting the smoke linger, and the dream returned.
However, who said that revolutionary vanguards can't have a long relationship with their sons and daughters? ?
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