Many wishful and bottom-up misreadings begin with "The Sun Also Rises". Everyone interprets it from the perspective of revealing the secrets of the Cultural Revolution, but everyone knows that it tells a story that works in any era. About the birth, climax and death of love, the repression and expansion of desire, violation and betrayal, forgetting and remembering, the pain and rekindling of hope, the theme is the emotional history of human beings. When it comes to "Let the Bullets Fly", there are still many interpretations that are too small. Whether it is to use the past to satirize the present, or to refer to Sang and scold Huai, Jiang Wen is not so shallow. The theme of this film is the revolutionary history of mankind.
As can be seen in the film, in every revolution there is a cannon fodder Feng Xiaogang who is unlucky enough to leave the stage early; Master Tang, who will never be hungry, has a heroic six sons who cut his own heart and eggs against the stone, and Zhang Mazi, who is smart and brave, good at dealing and strategizing. Finally, don't forget those reapers of the revolution. They have participated but not the soul of the revolution, but they have become the biggest beneficiaries. They control the direction and lifeline by train, eat hot pot and sing songs, and bang along the old road of their predecessors. Long into a new era. But Zhang Mazi was not among them.
People like to use "stealing the fruits of the revolution" to describe the unreasonable personnel pattern after the revolution, but I think this is a historical necessity. The slogan "Inspiring the Wisdom of the People" has been shouted for hundreds of years. Very few people have been inspired, but the vast majority have been inspired. What is the effect? Let's listen to the historical analysis. A hero who is high and widowed can "be at the top of the mountain and see all the mountains and small" in troubled times, but it is impossible to live in the alpine wasteland all his life. When the turmoil subsided, he must return to the land and fields. This is a different world, where soft knives fly across the warm water of intrigue. In the face of the barbaric crowd, is it okay to use one enemy to fight a hundred, and one enemy to ten thousand? No, you can't fight against the masses, you can't fight against the bad people, because you can't fight the evil in human nature.
In his speech at Jinan University, Lu Xun mentioned the situation of writers encountering nails everywhere: "During the revolution, writers were all dreaming about what kind of world the revolution would be successful; after the revolution, he saw that reality was completely different. So he has to endure hardships again. Calling, crying, and crying as they do, will not succeed; forward without success, backward without success, ideal and reality are inconsistent, this is a doomed fate." So did the forerunners of the revolution. If you are ahead of the times, you will become the scapegoat of the times. You were not favored in the past, you are not favored now, and will never be favored in the future. Fighting ahead and leading the way is a blessing, but it is always heretical and will never be tolerated. This is the paradox of the great hero. The end is nothing but God's to God, Caesar's to Caesar.
Nietzsche once mentioned "Dionysian tragedy", "The tragic pleasure of Dionysus is a sense of victory in which a powerful vitality dares to contend with pain and disaster." According to the pre-set script of suffering, perform maddening performances of tragic and ecstasy, and enjoy the freedom of the soul and the excitement of life; Get aesthetic pleasure".
This is the Don Quixote-style tragic and heroic "knowing that it can't be done". After the revolution, revolution, revolution, revolution, democracy and freedom will always be like a slippery fish that has been lost and regained, and it is even a chain of spring dreams. However, the fate of tragedy, how can we stop our blood and hope, we still have to chase it with blood and tears, sacrifice, and write the chapters of democracy and freedom stroke by stroke. Just like the end of the film, the lone hero rides a white horse and follows behind the horse-drawn train that echoes the beginning of the film. He faces the history of human revolution that is keen on restoration and reciprocation, and continues to embark on the Dionysian style that only belongs to himself but unexpectedly changes the current world. Tragedy Road - Endless Death.
The inevitable fate of piercing the infinite time and space with a limited life is like a man's arm as a chariot, just like a tiny dust questioning the vast starry sky. To say it is stupid, it may be the greatest wisdom of mankind; to say it is a tragedy, it may also be the greatest comedy in the world.
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