Interestingly, in his depiction of troubled times, Jiang Wen's historical view is very different from that of many directors, and is completely different from the stereotyped thinking of ordinary people. He emphasizes the strong impact of individual fate and accidental events on characters, which can break free from the shackles of the times. What he is building is a spiritual and emotional utopia. The most obvious example is his debut novel "Sunny Days". In reflection, scars, and persecution, Jiang Wen shows the Cultural Revolution's perspective in a different way, covering everything with his personal fantasy and unrestrainedness. He chose the "growth" incision of youth and looked at that era with a pair of 16-year-old eyes.
All representations come from attitudes, and Jiang Wen also shows through his perspective that he has no intention to please or comfort anyone.
When it came time for "The Devil Is Coming", Jiang Wen re-examined history and stepped on all the previous Japanese-related themes. Ironic black humor, ingenious use of colors, various metaphors, warped wars and brutality of human nature, all of which are magnified one by one, making people feel the gloom and absurdity of the times, like a highly dramatic oral history. .
In The Sun Also Rises, considered abstract and obscure, Jiang Wen recklessly plays with structure, symbols and metaphors. From beginning to end, the traces of the times are everywhere. Entering "Let the Bullets Fly", which is full of transformational meanings, the Beiyang period was treated as a troubled era with no government authority. Everyone is looking for a way to survive, using their own abilities, swaying and cheating, using guns and knives.
In Jiang Wen's case, the expression that is more consistent and deeply rooted than "love in troubled times" is his public admiration of men and the hormonal breath that he exudes, which can be summed up in one word, that is, gun.
Throughout Jiang Wen's four-part series, two movie titles are related to the sun, and one is related to bullets. Jiang Wen does not shy away from wearing the label of a man. And almost every Jiang Wen's work has a big scene of carnival and enthusiasm, and the unrestrained emotion is also the character emotion that Jiang Wen is good at expressing.
In "Let the Bullets Fly", he freely transitioned from a reckless atmosphere to heroism. He didn't need too many bullets, and the actor successfully took over the role of the leader. Zhang Muzhi is different from the frustrated Ma Xiaojun and the failed Ma Dasan. He is the most successful leader in Jiang Wen's works. He is not only the incarnation of intelligence and courage, but also a romantic and suave, long-lasting love for children; he also has a taste - listen Mozart, he still has a temperament - robbing the rich to help the poor, making men yearn for and women adore him, he is simply a superhero shaped by Jiang Wen according to the ideal template.
And this hormonal smell can be traced back even earlier. In "Sunny Days", Ma Xiaojun was frustrated when he obtained Milan's love. In the juvenile fantasy, world wars and gang fights are his spiritual sustenance. The film also emphasizes There are scenes such as the roof, chimney and diving platform, and various passages related to male hormonal impulses appear in the middle. Ma Xiaojun aspired to be a leader. In that era, this was the only way out.
Although the core of "The Devil is Coming" is the absurdity of war and the ignorance of human nature, Ma Dasan took his axe and rushed into the prison camp, which is the most primitive impulse of revenge. In "The Sun Also Rises" and "Let the Bullets Fly", the revenge process was interrupted, Lao Tang did not shoot, and the Ma gang did not fight back. However, these characters are all weapons in hand, occupying the initiative and strength.
Of course, those who are good can continue to conclude that Jiang Wen's masculine thinking is too serious to be good at expressing normal male and female feelings. Just like in "Bullet", the roles of Carina Lau and Zhou Yun are just functional symbols; in "Sunny Days", Ma Xiaojun started peeping at Milan and ended with the violation; "The Devil is Coming" begins with an affair with a widow; Rise is Seduction and Adultery. Compared with the sexual repression of fifth-generation directors, Jiang Wen is completely open, and the female characters are absolutely full of original temptations.
The description of dreams and the preference for surrealism are also very important points of Jiang Wen's film aesthetics. In "Sunny Days", Ma Xiaojun accidentally discovered Milan, which was a dream, and his voice-over narration was full of the confusion of the dreamer. "The Sun Also Rises" is four dreams, filled with all kinds of strange images, what is velvet, this question also troubles Li Dongfang. "The Devil is Coming" emphasizes the absurdity and bleakness of "dream", and in the end, the knife falls, and a person's life is a tragic dream.
When it came to "Let the Bullets Fly", the whole thing was like a dream - the opening was a spectacle: eight snow-white tall horses dragged the train to run on the gravel and railroad tracks, and there was a huge hot pot in the carriage, sitting around the hot pot with a super shape. Strong three. Jiang Wen always emphasizes a situation that is unreal and contrary to everyday cognition. Horse-drawn trains, mahjong masks, guns and silver all over the floor, these are all things that are missing in reality. And Jiang Wen's irrepressible emotions are probably only revealed in Zhang Muzhi's loneliness at the end - his victory was like a dream, and after waking up, he went on the road alone. [Boutique Shopping Guide]
ps. Thanks to ladyzizi for supplementing the article, it is of great benefit
Jiang Wen and the Sun (Male Charm)
Jiang Wen's films always have the sun, the sun is a symbol of men, whether it is "Sunny Days" or "Let's Go" Bullets Fly", the sun is its constant complex, even if it is a swear word simplified into a single word.
Let the hormones fly for a while
. Men, if you say that "Let the Bullets Fly" is a movie with strong male hormones, I think, this is not an exaggeration. There are three major male protagonists in the characters, and there is no shortage of supporting actors who can be funny and pure men. During the uprising, when the men responded, the male characters in this film almost occupied an overwhelming advantage. It is no wonder that some people say that Jiang Wen is actually a bit misogynistic.
All the masculine symbols of the hero are gathered in one place on Jiang Wen, who is the masculine incarnation of the ultimate yang. Don't worry if your son is killed. Can't beat the enemy, don't be impatient. Give it a go, and understand. The only regret this movie left to Jiang Wen may be the hero's loneliness. At the end, he was alone, chasing after him, but he had a sense of loneliness and heroism.
Where there are men in bullets, there are guns, long guns and short guns. Bullets rained through the iron gate, no matter how hard they hit, they couldn't finish it. The hero of the wine country of Hongmen Banquet, and the horses and trains, the masculine elements of "Let the Bullets Fly" are everywhere. The whole movie also belongs to the category of fast-paced, almost reluctant to stop. The rhythm is super fast and the editing is sharp, which is extremely rare in domestic commercial films.
Tracing the Origins of Men's Erotic Interests
In "Sunny Days", teenagers get together and fight fiercely, from bricks available everywhere to group fights of hundreds of people, chasing girls to depression after failure, these are all the rough experiences of teenagers, right The fantasy of centralized leaders and world wars satisfies the masculine imagination and fits the background of the times. When it comes to "The Sun Also Rises", not to mention Jiang Wen's shooting by himself and Fang Zuming's celestial urination, if you refer to the temptation of Chen Chong's uniform, Jiang Wen is obviously familiar with men's aesthetic tastes, and more familiar with their tastes. Perhaps because of this, attentive viewers will find that Jiang Wen's works actually contain erotic things, from the tranquility in "Sunny Days" to Jiang Hongbo in "Devils Are Coming", from Chen Chong in "The Sun Also Rises" to "The Sun Also Rises". The girl in "Let the Bullets Fly" may not have ulterior motives, but it is really interesting.
Generally speaking, masculine films are easily disgusted by some female audiences, such as self-inflated and uncontrolled advocacy. Fortunately, the reason why Jiang Wen is Jiang Wen is that he has some other unique weapons, such as "Let the Bullets Fly", although it has a strong male color, but there are also many humorous and funny, which can better meet the needs of most audiences, which also dilutes the male. Local thinking.
=============Reprint 1.4. Military Uniforms (Excessive Narcissism) =============== Wen_Wu Jueren
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children in that era felt that they wore military uniforms The man is the most handsome, Jiang Wen is the same, you can see the military uniform in all his films, which is a symbol of narcissism, and again, this narcissism runs through all his films.
The Birth of a "Mao" Hero The
Conditions for a Good Director Jiang Wen can always give people the feeling of narcissism. It is hard to say whether he is a narcissist or not, but some symptoms of narcissists can always be found in his films. Perhaps this is also a necessary condition for all excellent writers and directors.
Jiang Wen has an idealized empathy for the world in the entire film. The characters, dialogue, props, and even the light in the film were all drawn by Jiang Wen with his heart and lungs. This is somewhat reminiscent of the alien memory factory in "City of Souls".
Autobiography in Details If we take a closer look at his three previous directorial works, we can make a long list of sights, sounds, colors, characters, objects, and even a sense of smell. And these collages are Jiang Wen. This time, the autobiography of "Let the Bullets Fly" has a little less color, but we are still in the corner of this strange world. We see all kinds of autobiographical meanings in these romantic embryos, trains, monoculars, and objects flying upwards. The camera, etc., etc., too many things hidden in the depths of Jiang Wen's emotions popped out from "Let the Bullets Fly" unconsciously. After all, this is the world Jiang Wen created himself. And Zhang Muzhi, played by Jiang Wen, is a classic "Gao Daquan" type hero, a "Mao" type hero.
The movie of Jiang Wen, the heroic utopia in my heart,
can always give people a powerful vitality. Joy, sometimes without flinching with a little tragic vitality. Perhaps this is what Freud called narcissism in its most primitive form, a self-love experienced as a function of life's existence, love for oneself and for the mother who nurtured her by nature. Two aspects of Jiang Wen's narcissism syndrome are shown here. On the one hand, he externalizes his inner world, projects it on the screen, or integrates it into the characters he plays, which is why his films always have a burst of vitality; on the other hand, Jiang Wen His films are always about the era in which he grew up, and regard it as a part of himself, so the objects and events of that era have become an extension of Jiang Wen's individual. It's like the sap-sucking honey ants make the trees they feed them part of themselves.
Jiang Wen's narcissism is not the kind of narcissism that is disgusting, it is not fake aloofness, it is not cleanliness. He has never closed the channel of public communication, and he is always willing to share his memories and emotions with others. Therefore, in "Let the Bullets Fly", Jiang Wen did not choose the high-pressure attitude of human ethics, and he was still the heroic utopia that continued in his heart.
So to understand Jiang Wen's films, perhaps we must first try to love Jiang Wen.
【Southern Entertainment Weekly http://www.smweekly.com/Print/Article/11659-2.shtml] The points summed up are very powerful. After reading it, I feel that what I wrote is the most superficial. In addition, the points in the analysis of the square are also very good.
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