When I was sorting out my notes, I saw a little bit of my post-reading feeling at that time, so I turned out the movie and watched it. Four pairs of Chinese mothers and daughters, their respective past events unfold in turn, and eight independent and coherent stories, although the handling method is a bit monotonous, but such a huge narrative can be melted into a short 120-minute editing, which is complicated but not complicated. Small and powerful, it already shows the director's skillful control of the lens language. Mother and daughter, past and present, old China and America, the natural transition of time and space also makes up for the monolithic narrative structure to a certain extent.
Just putting aside the technology, the narrators behind the camera, regardless of narration or tone, are still traditional Hollywood. Hollywood doesn't understand China. What it saw in the past and now is China after being refracted by its Manifest Destiny. Countless "China Tong", after all, never produced a real "China Tong". Those episodes about old China seem superficial to me. Some of the dialogues that express China's eccentric and backwardness are obviously Europeanized, either because of the author's identity of Chinese descent, or because of the poor translation, but in short, they are not "shocked". The American style is straight, and there is not even the least bit of text modification. That kind of dialogue does not require actors to perform, but just by looking at the subtitles, you already know what the film wants to express. Because those words are too easy for us to think of four words in a conditioned reflex - feudal ethics. However, after resorting to specific and subtle language and actions with the help of actors, it has become a new story unheard of for Americans. Partitioning relatives, inheriting the lineage, being raped and being accused of being a slut, in the old-fashioned big family, concubines and concubines were sick and angry and gave birth to children... An Mei's last rebuke at her mother's mourning hall was particularly jerky and ridiculous. The death of the soul does not actually bring more strength to the child. This strange statement has never been heard in the old society.
I saw Xi Meijuan, playing Yingying's mother. As tepid as ever. The advantage of her is that every time she turns around sadly, every time she lowers her eyebrows to please the eyes, she is naturally filled with the forbearance of a traditional mother; her plain face is always a vivid portrayal of an old-fashioned woman who is bitter, hated, and deep.
Lindo, played by Yu Feihong, was amazing at the first meeting. Clean, a cheongsam with broken flowers and white background, which makes our Hangzhou girl's flesh and blood stop evenly. The first sentence out of the mouth was actually "Put P", which was a little bit of Sister Lin's dashing and funny. That year, she participated in the Joy Luck Club and was only a junior. The acting is still a little green, and on the dance floor of Ye Laixiang, I was also a little nervous. I still remember watching her "Rolling the West Wind" at my sister's house during the summer vacation of junior high school. Fifteen years later, she made a gorgeous comeback with her self-directed and self-acted "Love Has Afterlife", her clear eyes are the same as before. Yang Yan, Willow Catkins, Gao Yuhan, Murong Qiudi... One after another, the beautiful faces flashed over and over again, and when they glanced back, they were once Jinghong Zhaoying.
Wen Mingna as June. Represents a new Chinese woman who has completely got rid of the old era of old China. She grew up with rebellious thoughts and contradictory feelings. I always feel that among so many female characters in the film, only June is the closest to Amy. At most, it is also quite brilliant when it is put on the screen. Wen Mingna's face, the atrium is full and the beauty is not enough, but it is still attractive.
I have to mention the soundtrack of the film, The Story of The Swan, a gentle and honest female voice, which sounded slowly in the music, "The old woman remembered a swan she had bought many years ago in shanghai. This bird, boasted the market vendor, was once a duck that stretched its neck and hope to become a goose, now, look, it is too beautiful to eat..." Even without any provocative language, just this music was enough to make me cry. Many people may think that this graceful song full of oriental classical rhythm should be from a "national player", but in fact she is the masterpiece of Rachel Portman, a genius scorer in the British peninsula. Portman's other representative soundtracks, as well as "Chocolate" and "Oliver Twist". They are all music that I used to love.
Listening to Swan, it was as if the pure children's voice of Who will buy this wonderful morning sounded again, and also seemed to remember the long cool sound when Miles Lingsu died in Hu Fei's arms in "Flying Fox in Snow Mountain". "A feather of the swan as a memory". A pure white swan feather appeared on the screen, and in a trance, it seemed to return to the opening of Forest Gump. This movie gave me a lot of associations. Think of Chen Chong in Heaven & Earth, and Chinatown, also produced by Oliver Stone.…
Maybe I have always been indifferent, this film is not as "tear-jerking" as many film critics say. But near the end, I still cried when I saw Su Yuan had to give up her two biological daughters on the way to escape. The mother, who was suffering from dysentery, knew that her life was not long, so she had no choice but to abandon her infant flesh and bones by the roadside. In this chaotic world, no matter how unbearable she was to escape or die in the end. The dying mother tried her best to take off her valuable jewelry and carefully wrapped it in cloth. The hope of surviving was as slim as a drop in the ocean. How melancholy she should be and how desperate she should be.
Before June left, her father told her about the past. She finally understood in her father's murmured reminiscence why her mother always had so many expectations for her, so much that she felt that she was a disappoiment, so much that she would always be trapped in the shadow of fail. In fact, the mother's high hopes for her little daughter also included her expectations for her other two abandoned babies. June alone bears the mission of the three sisters, and of course she will be tired, and her mother also clearly understands that she is dereliction of duty to the first two daughters and unfair to the younger daughter, so she feels unworthy and is ashamed to hand over the feathers herself. to June.
All kinds of misunderstandings and puzzles finally broke open at this moment, but there was only one feather left to pay tribute. June hugged her father and cried. Even though I knew it was fake, the tears still slipped silently down my cheeks.
View more about The Joy Luck Club reviews
