——Yang Dechang's Film Remembrance 1. A Taiwanese operating lamp has always been an intellectual novelist called Milan Kundera, who has sharply criticized the status quo of the novel world: "Today's novelists have no historical aspirations." This sentence also applies to the film industry. Especially the Chinese film industry. However, some people may refute that the original intention of imaging technology is to record the nature of the tool, and it does not have the cultural load of the novel text. In 1985, French factory owner Louis Lumiere used the latest equipment to produce the first public screening film "Factory Gate" in film history. This seemingly significant film is only a live broadcast of his family's chemical factory after get off work. In an age where books and printing dominated the cultural realm, photography, and the technology of the moving image that followed, seemed inherently vulgar and superficial, as auxiliary recording tools. It was not until Benjamin, a German humanist, rectified the poetic meaning of images in "Works of Art in the Age of Mechanical Reproduction" that films were freed from the shadow of technology, thus ushering in a truly rich, multi-meaning, and even deeply condensed image age. . No matter how much entertainment, news and record value take up the image media, filmmakers should not live up to the high hopes of this talented scholar. Yang Dechang, as a Taiwanese director who has won the Cannes Palme d'Or and was awarded the Golden Horse Lifetime Achievement, has carried the heavy banner of humanistic film alone with his humble body. "We're quite lucky and unfortunate, because our environment is pretty bad, so I have to do a lot of things. If I were in another relaxed environment, I might become lazy, or become an incomplete filmmaker", Yang Dechang This passage of the film maintains the low-key style and deep irony of his films, and expresses a kind of tenacity that "can't be done", which can almost be engraved into the epitaph of his life as a filmmaker. Produced in 1994, "The Age of Independence" can be said to be a high-scoring test paper delivered to the film imperial examination by a humanistic director, and is the most standard "image spokesperson" of the brand Yang Dechang. As soon as the film opens, it begins with the thirteenth chapter of "Confucius·Zilu", and asks the whole Taipei City to ask questions in the style of preaching and dispelling doubts: The Master said: "It's so easy!" Ran You said, "It's already a scumbag, so what's more? The Master said: "It is rich. Ran You said: If you are already rich, what is there to add? The last sentence of the original text is in the film, and there is only a string of ellipses left, because this last sentence is the answer the film itself is looking for. The opening paragraph of subtitles, a large number of explanatory dialogues, the English name "A Confucian Confusion” (literally translated as: Confusion of Confucians), which is too reckless and explicit for audiences who are accustomed to passive viewing and emphasizing the senses. Yang Dechang shows his humanistic ambition to preach through film in a gesture of almost grief and indignation. This kind of ambition is often considered to be overloaded, or even non-movie. It seems that the film is just a melodious pointer used by Yang Dechang for humanistic education, a magic pen that blurs light and shadow, and even some film critics criticized the film for being nothing more than a A chattering radio drama. Yang Dechang is obviously not unaware of this, and he defended himself against this doubt in advance in the film. The heroine Kiki in the film, because of her gentle and virtuous nature, is too perfect, as if she has not been polluted by the city. The purple plant immortal grass confuses the Taipei people who are surrounded by all five poisons. They think she is acting and say that she "pretends to be more like the real thing. "And this sentence is more or less a poisonous question that he has to face in the murky waters of the film industry. But Yang Dechang is not as perfect and good-tempered as Qiqi. For more than ten years, the Golden Horse Award, which has been separated from Yang Dechang's appearance, was finally awarded in 2000 because of He threw an olive branch to Yang for "One One", which won the top prize at Cannes. However, Yang refused angrily. The final reconciliation was not made until Jiao Xiongping, the chairman of the Golden Horse Awards, gave him the Lifetime Achievement Award. In 2008, in a hug between Qiqi and Yongyonglulu's boyfriend Xiaoming, they were sharply dissected by Yang Dechang. Yang Dechang is indeed worthy of the name "Taiwanese society's surgical lamp". 2. Eight sharp daggers Oddly in his control over the situation, "Guling Street Teenage Murder Case" (hereinafter referred to as "Guling Street") is a huge chapter of more than four hours, and the needle and thread are not messy at all. The method of opera mentioned in the "Cycography Department • Structure First": "Composing an opera is like sewing clothes, in the beginning, the perfect ones are cut into pieces, and then they are made up with the chopped ones. "That's not enough. The mastermind stands first, and his hands are left behind. Yang Dechang often uses the restraint of a great master to force the final blow. The red fish in "Mahjong" shoots against Qiu Dong, "Terrorist" The suicide of Li Liqun in the bathroom in "The Molecule", and the knife that made Yang Dechang famous in the film circle in "Guling Street". Si'er hugged Xiao Ming in his arms, mocking and scolding like Zhang Guozhu: "No promise, shameless. "This line is like a slap on the face of the entire Taipei City. Every shot and every knife is a killer move. Yang Dechang's restraint is not groundless. A tall and straight notochord. Yang Shengshen's works, including the posthumous work of chasing the wind, just coincidentally coincide with Fellini's "Eight and a Half", the title of each film is a core, a root, almost guarding the road . The title, space, characters, and events of "Kuling Street" are complete, a neighborhood in the political capital Taipei, famous for its scholarly fragrance, a boy who is the embodiment of morality, and a tragic labor pain; the most interesting is "Mahjong", where four people gather together A table of urban hexagrams that have been abducted and deceived, the story is unknown, the house and the steel structure have been firmly fixed, and only need to fill in the effort; by "Yi Yi", Yang Dechang has almost transcended the Confucian original purpose of excessive access to the WTO in "Independence Times" , from exhausted reflection to a free and transparent understanding, from Confucius and Mencius to Laozhuang, and using the Taoist method of "one life, one life two", the atmosphere is broad, and finally the king of Cannes. Jia Zhangke can be regarded as the standard-bearer among the sixth generation of directors in mainland China. However, when Jia Zhangke's semi-autobiographical proud work "Platform", the original film was nearly six hours, with various tidbits and collages, and he finally compressed most of it by him. Abandon. And the real classic is precisely the tug-of-war between ingenuity and selfishness. In terms of energy storage and structural management skills, Jia Zhangke is already one rank behind Yang Dechang. Hou Hsiao-hsien, another master of Taiwan's new film Three Jerry, is good at vortex-style emotional infusion. Of course, it's not without reason that you hit it off with Zhu Tianwen, the queen of Taiwan's literary circles. His masterpieces "The Best Time", "Love in the Wind and Dust", and "The Man from the Wind Cabinet" are all good at emotions and atmosphere, and win with details. Intentions are not a big deal. Each of Yang Dechang's films projects a pure heart in an ethical sense. But this kind of ethics, without the main theme, refuses to cooperate with the official; this heart, without painting, also refuses to be made into specimens. Those who are familiar with Yang Dechang's lines can appreciate that the integrity in his films must be swearing, just like stinky tofu must be soaked and fermented. But as a teenager, Xiao Si does not have the desire for revenge and confusion of the well-off in "Youth Nezha", nor does A Zhen's indulgence in aesthetics in "The Best Time". Xiao Si's straightness is the straightness of a dagger, a sound of a sharp instrument piercing into flesh. This sharp weapon is Yang Dechang's stubbornness to the spirit of independent thinking, and this fleshly body is a city called Taipei. The most valuable part of Yang Dechang's films is the sense of commitment when dealing with the theme of ethics. It is not overhead or diagrammatic, just like the dagger in Xiao Si's hand, pinned to the belt of the national army uniform, swayed, and fell to the ground several times. Uncomfortably in the hand. The deeper you insert into the flesh, the more frightened you will be. three. Film critics talk about Yang Dechang in many violent death incidents, but they can't escape "Salvation" and "Death" two themes. Some people even say that Yang Dechang's films are intellectually profound and morally simplistic, and even compare with Woody Allen, who also likes to make a fuss about the Metropolis, that Yang Dechang lacks a more flexible sense of irony. This in itself is a result of looking back at Yang Dechang with simple logic. Especially the unrestrained nagging in "The Age of Independence" and the death endings in more than half of the films are indeed very easy to cause controversy. This is a criticism mode in which the judge of a work uses the right of speech to punish the judge of culture, and it is also the thinking inertia that Yang Dechang hates most. In "Guling Street", there are two dialogues between the director of the discipline office and Xiaosi's father, and Xiaohu's contemptuous remarks to Honey appear twice, and there will be a few lines similar to "what's so great" and "what a thing". . This is a sign of Yang Dechang's deep feeling for the order of power. In the Disciplinary Office, the director is at the core of the power order and controls the power of life and death. Therefore, he is not afraid of Zhang Guozhu, who "eats the public meal together". Instead, he presupposes the purpose of the overly upright Zhang Guozhu's trip with the mentality of a herd of predators. , thus aroused hatred and hostility, scolded him as "what kind of thing", and repeatedly demonstrated and showed off by means of recording major demerits and ordering to drop out of school. The same scene also appeared at Uncle Fat's fruit stand. When Zhang Guozhu left in anger because of the humiliation, Uncle Fatty thought that the other side looked down on him as a vendor, so he brought out "When I was in the Railway Bureau, who would dare to ask Lao Tzu to leave? "Such a sign, with lost power against invalid power. Xiaohu's disdainful remarks to Honey have a guilty conscience, because although Honey's power is not present, it may appear and punish him at any time. All of this shows how keen Yang Dechang is to capture the traces of power, which is definitely not something that a naive idealistic Confucian can learn and bear. The fundamental question is not whether fairness and justice can be upheld, and whether killing and benevolence are worthy of praise, but why such unprovoked vicious assessments of others can circulate smoothly in a developed and civilized city, and the more developed it is, the more unhindered it is. In particular, the brother-in-law of Qiqi in "The Age of Independence", while writing "The Confusion of Confucianists", but because of his own selfish desires, he jumped over the wall and plundered Qiqi's emotions. "How can you guess? How can you guess like this?" Qiqi's question was also Yang Dechang's question. The dam of upbringing, the reflective defense, collapsed with this flood of guesswork, assimilation, and distribution of charges. In the studio, the director asked about Xiao Ming's whereabouts, and praised Xiao Ming for "laughing when he laughs, crying when he is crying, it's natural". Xiao Si said angrily, "Naturally, I can't even tell the difference between the real and the fake. What movie are you making? What the hell are you making?" It is impossible to define ethics in movies, but Yang Dechang, the director, knows that, To distinguish between true and false is the chastity of an author that cannot be denied. How troublesome this is, how difficult it is to create and read Yang Dechang's films. In this regard, Yang Dechang's extreme reminder is death. But the death is not exact, to be precise, it should be a sudden death. Death is a neutral word, a bystander's position, and a general evaluation of Yang Dechang's position by film critics. But the sudden death is obstructive, and it is a small-scale but high-intensity resistance. In "Guling Street", the fourth child did not have any murderous intention until the last time he saw Xiao Ming. Xiao Ming explained a line and asked Xiao Si, "Are you here to block the pony?". Xiao Si did not answer, but in terms of narrative logic, even if it is not absolutely true, Xiao Si's psychology is at least vague. It was not until Xiao Ming stabbed Xiao Si with his own interests after several quibbles, that Xiao Si, who was at a loss for words, had no intention of killing. The same temper as his old man, what he can't tolerate is not so much the infidelity and injustice of the other party, but the grievance of throwing dirty water on his personality. Turning the whole narrative logic upside down, it is no longer the sentencing of a renegade girlfriend by a self-righteous and dignified teenager, but a complaint asking for his own identity card in the turbid crowd. But he is only a teenager. He will not be like Zhang Guozhu, who will soften and give in after an overnight interrogation, and begin to hide his identity that he does not know why he is ashamed. He has extreme "rights" and remains active. In this kind of appeal, suicide and homicide have the same equivalent. If the protagonist of the story switches to Zhang Guozhu, then giving him a layout where his wife and son are separated can come up with a standard answer of suicide in the interrogation room. This is different from Li Liqun's suicide in "Terrorists". Among terrorists, Li Liqun is not the embodiment of a certain personality, but a carrier of terror. His death is a violent attack after a certain dose of terror. As for the death method of Qiu Dong and the death method of Hongyu's father in "Mahjong", each has its own merits and cannot be generalized. The father in "Mahjong" has experienced the washing of pure love, and has transformed from a huge cheating profiteer to a good citizen. It is a pity that this kind of transformation cannot be recognized by the general environment. The judicial and public opinion links in the general environment are extremely rough, and it is impossible to take care of this special variant. Even the direct relatives around Hongyu's father cannot try to understand him, let alone the vicious public opinion and the icy judicial system, defrauding hundreds of millions of people, keeping mistresses, and absconding with money. On his head, there will be no respite for him, nor the patience to listen to his confession. Rather than being humiliated first and then punished, it is more poignant and beautiful to sympathize with both of them. However, there is one person who is different, and that is Red Fish, his heir. This is a private bloodline with private circulation and private protection. Therefore, the possibility of understanding is guaranteed by rejecting public assimilation. Red Fish's instinct to defraud is inherited from his father, so he has a basic identity with his father, and is even proud of it. When the "worst big bad guy" in his mind suddenly changed for the better one day, it aroused his curiosity. In addition, the change of his father's position caused the patriarchal deity that the red fish was chasing to collapse, and the cultural gene of "fraud" that had been passed down in a single line suddenly became extinct. His own set of institutionalized rules of social interaction were instantly ineffective. Originally "there are only two kinds of people in the world, one is a liar and the other is a fool", but now the most powerful liar in his mind has instantly become the most ridiculous fool. Originally, "when the feelings move, the brain can't move", but now the mind he admires the most has been completely captured by the feelings. From the confession of Red Fish's dad to Red Fish, to the scene where Red Fish shot Dong Qiu, Yang Dechang gave a profound cultural deconstruction. The term deconstruction is not misused here. What is deconstruction? Deconstruction is the dismantling of artificially constructed texts, and the dismantling of illegal buildings in human nature. And any kind of cultural logic and moral creed itself has traces of artificial alienation. Just as the British cultural researcher Anthony Giddens discussed in his book "Modernity", the urban transition from traditional industrial society to developed There will be more and more "artificial uncertainty" in the process of urbanization, increasing risk as the continuous development of knowledge affects society. Choosing a creed itself is a gamble, and winning or losing is completely a psychological shock. Through the death of his father, this shock was directly passed on to Hongyu, and the fraud set up in Hongyu's heart suddenly became an outdated entertainment game, no longer attractive. The red fish shot to kill Qiu Dong, which is of the nature of venting his anger and almost unreasonable, but Qiu Dong represents a red fish who has been denied by himself. In the confused eyes of the red fish, he killed Qiu Dong, and his father's Suicide makes no difference, it's just a blood exchange. Due to the lack of threats from justice and public opinion, he has no urge to commit suicide. Only by letting Director Qiu experience a sudden death can the new concept of inheriting from his deceased father run smoothly. The explosive power of this kind of death is amazing, and it does not represent the author's own standpoint, but the degree of investment, which is a fatal blow after accumulating power. With his imagination and camera language, Yang Dechang kept exaggerating and repeating the doubts in his heart, and came to the conclusion many times. Same answer: violent death. But one thing that cannot be ignored is that Xiao Si, Hongyu and Li Lizhong have something in common. They are both victims and participants. As closed individuals, when they are not understood and recognized, they also do not provide an interface to understand and recognize others. Just as Zhang Guozhu, Honey, and Xiao Si, the trinity of three honest people stubbornly insisted, "Bravely believe in the truth of being a human being". Then, it is equivalent to denying others first. Four. The Reconciliation of Two Embraces If "The Age of Independence" is regarded as a concept film, the word "teach it" is the chip that started the whole film. But what is taught is not a set of moral laws, but a way of thinking. In the film, Yang Dechang rarely gave up the death scene, and at the same time added a large number of propaganda dialogues. This time, Yang Dechang violated his usual restraint, abused his privilege as a director over material, and was ready to meet the verdict of critics and audiences. Therefore, if "The Age of Independence" is regarded as a prank, then it is Yang Dechang who wants to draw audiences and film critics who have absolute right to speak to him and his films into the play and stubbornly continue his experiment in film texts. And those perpetrators of murder or suicide, this time replaced by the director himself. However, in "The Age of Independence", Yang Dechang, who expressed his desire to be fully released, relaxed instead. For the first time, a large number of reconciliation scenes appeared: King finally fell in love in the theater, and after returning to the company, he had a peace talk with Mary. Mary recognized her eldest temperament and Kiki's completely sincere kindness. The hug at the elevator door. Along with Xiaobo, Larry and Larry's girlfriend's slapstick, the writer's brother-in-law's pedantic and ridiculous monologue made "The Age of Independence" gradually slide from a drama to a comedy. In contrast to Yang Dechang's stern image of an urban analyst, he has a near Shakespeare comedy. temperament. From the polyphonic propaganda bombardment of Xiaobo, Larry, brother-in-law, etc. in The Age of Independence, it can be seen that Yang Dechang is not only an ethical defender, but even an amoralist. And his persistence of Confucian ethics is not so much an idea as an object. Yang Dechang, who has been nurtured by Confucian culture since childhood, has only such a concept that he can handle meticulously. Like the city, death, and sophistication, ethics is only a material that is juxtaposed, and the confusion in his heart is not the confusion of Confucianism. It might even be said that he is not confused, he is just talking hard about confusion. In "Anything Else), the old comedy writer played by Woody Allen said intimately to Jerry, the junior he admired, "Don't think about the universe and truth all day long, you are a comedy writer, just write your jokes well." In "The Age of Independence", a taxi driver from Shandong happened to say in a similar tone, "I live a good life, why do I think so much?" Painting a portrait." At the end of "Yi Yi", he used Yangyang's mouth to reveal his very innocent wish, and Yangyang said that he wanted to tell others the unknown things in the future, which must be very interesting every day. happy. That is, showing the "back of the head" of others. After the expression addiction of "Independence Times", Yang Dechang has tried to separate and purify the two faces of "life" and "death" in "Mahjong". One is the suicide of Red Fish's father and the shooting of Red Fish, and the other is the reunion ending of Lun Lun, played by Ke Yulun, and the French girl Margaret hugging and falling in love. On the one hand, the refusal to live and the refusal to release the life maintain their uncooperative attitude, blocking the cleansing of the social torrent. On the other hand, Yang Dechang's late style began to spread, and the moving moments of the living were drawn into the camera, and he gave a higher evaluation. From Xiao Si in "Guling Street" to Lun Lun in "Mahjong", from Little Hong Kong in "Mahjong" to the plane in "Guling Street", Zhang Zhen and Ke Yulun represent two lines of youth, one to Just to the big, piercing straight, the other is to the yin to the soft, tortuously traverse. What is right and what is wrong is no longer important. As of "One One", Yang Dechang's ambition as a humanistic director has finally been retracted freely, fully displayed, and the atmosphere is mixed. The love of life and death with a Taipei city that has a history of nearly 20 years has come to an end. In "The Twenty-Four Cities", Jia Zhangke quoted a famous article by Yeats: "There are many autumn leaves, but only one root. In the days when I lied in my youth, I swaggered in the sun. Now, I shrink into the truth." If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this kind of ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not That kind of pedantic nagging, the truth is only a root, only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can we achieve the realm of film director and screenwriter art. . As a director, what he lost in his efforts was only his personality, but what he got was the most fulfilling work for him personally. What to do? " Yang Dechang once said exactly, "My goal is very clear, that is, to paint a portrait for Taipei." "At the end of "One One", he used Yangyang's mouth to reveal his very innocent wish. Yangyang said that he wanted to tell others those unknown things in the future, so that he would be very happy every day. It is to show the "back of the head" of others. After the expression addiction of "Independence Times", Yang Dechang has tried to separate and purify the two faces of "life" and "death" in "Mahjong". One is the father of Hongyu. The suicide and the shooting of the red fish are the reunion ending of Lun Lun, played by Ke Yulun, and the French girl Margaret, who fall in love. The cleansing of the torrent. On the other hand, Yang Dechang's late style began to spread, and the moving moments of the living were drawn into the camera, and he gave a higher evaluation. From the little four in "Guling Street" to "Mahjong" In Lun Lun, from the small Hong Kong in "Mahjong" to the plane in "Guling Street", Zhang Zhen and Ke Yulun represent the two lines of youth, one is from just to big, and penetrates straight, and the other is from Yin to Yin. Soft and tortuous. It is no longer important to be right or wrong. As for "One One", Yang Dechang's ambition as a humanistic director has finally been freely retracted, fully displayed, and the weather is mixed. The love of life and death has come to an end. In "The Twenty-Four Cities", Jia Zhangke quoted a famous article by Yeats: "There are many autumn leaves, but there is only one root. In the lying days of my youth, I was swaggering in the sun. Now, I shrink to the truth. "If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not. It is the kind of pedantic nagging, truth is only a root, and only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can it be possible to achieve the artistic excellence of film directors and screenwriters. Transformation. As a director, what he lost in his efforts was only his personality, but what he got was the most complete work for him personally. What to do? " Yang Dechang once said exactly, "My goal is very clear, that is, to paint a portrait for Taipei." "At the end of "One One", he used Yangyang's mouth to reveal his very innocent wish. Yangyang said that he wanted to tell others those unknown things in the future, so that he would be very happy every day. It is to show the "back of the head" of others. After the expression addiction of "Independence Times", Yang Dechang has tried to separate and purify the two faces of "life" and "death" in "Mahjong". One is the father of Hongyu. The suicide and the shooting of the red fish are the reunion ending of Lun Lun, played by Ke Yulun, and the French girl Margaret, who fall in love. The cleansing of the torrent. On the other hand, Yang Dechang's late style began to spread, and the moving moments of the living were drawn into the camera, and he gave a higher evaluation. From the little four in "Guling Street" to "Mahjong" In Lun Lun, from the small Hong Kong in "Mahjong" to the plane in "Guling Street", Zhang Zhen and Ke Yulun represent the two lines of youth, one is from just to big, and penetrates straight, and the other is from Yin to Yin. Soft and tortuous. It is no longer important to be right or wrong. As for "One One", Yang Dechang's ambition as a humanistic director has finally been freely retracted, fully displayed, and the weather is mixed. The love of life and death has come to an end. In "The Twenty-Four Cities", Jia Zhangke quoted a famous article by Yeats: "There are many autumn leaves, but there is only one root. In the lying days of my youth, I was swaggering in the sun. Now, I shrink to the truth. "If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not. It is the kind of pedantic nagging, truth is only a root, and only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can it be possible to achieve the artistic excellence of film directors and screenwriters. Transformation. As a director, what he lost in his efforts was only his personality, but what he got was the most complete work for him personally. face. One is the suicide of Red Fish's father and the shooting of Red Fish, and the other is the reunion ending of Lun Lun, played by Ke Yulun, and the French girl Margaret hugging and falling in love. On the one hand, the refusal to live and the refusal to release the life maintain their uncooperative attitude, blocking the cleansing of the social torrent. On the other hand, Yang Dechang's late style began to spread, and the moving moments of the living were drawn into the camera, and he gave a higher evaluation. From Xiao Si in "Guling Street" to Lun Lun in "Mahjong", from Little Hong Kong in "Mahjong" to the plane in "Guling Street", Zhang Zhen and Ke Yulun represent two lines of youth, one to Just to the big, piercing straight, the other is to the yin to the soft, tortuously traverse. What is right and what is wrong is no longer important. As of "One One", Yang Dechang's ambition as a humanistic director has finally been retracted freely, fully displayed, and the atmosphere is mixed. The love of life and death with a Taipei city that has a history of nearly 20 years has come to an end. In "The Twenty-Four Cities", Jia Zhangke quoted a famous article by Yeats: "There are many autumn leaves, but only one root. In the days when I lied in my youth, I swaggered in the sun. Now, I shrink into the truth." If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this kind of ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not That kind of pedantic nagging, the truth is only a root, only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can we achieve the realm of film director and screenwriter art. . As a director, what he lost in his efforts was only his personality, but what he got was the most fulfilling work for him personally. face. One is the suicide of Red Fish's father and the shooting of Red Fish, and the other is the reunion ending of Lun Lun, played by Ke Yulun, and the French girl Margaret hugging and falling in love. On the one hand, the refusal to live and the refusal to release the life maintain their uncooperative attitude, blocking the cleansing of the social torrent. On the other hand, Yang Dechang's late style began to spread, and the moving moments of the living were drawn into the camera, and he gave a higher evaluation. From Xiao Si in "Guling Street" to Lun Lun in "Mahjong", from Little Hong Kong in "Mahjong" to the plane in "Guling Street", Zhang Zhen and Ke Yulun represent two lines of youth, one to Just to the big, piercing straight, the other is to the yin to the soft, tortuously traverse. What is right and what is wrong is no longer important. As of "One One", Yang Dechang's ambition as a humanistic director has finally been retracted freely, fully displayed, and the atmosphere is mixed. The love of life and death with a Taipei city that has a history of nearly 20 years has come to an end. In "The Twenty-Four Cities", Jia Zhangke quoted a famous article by Yeats: "There are many autumn leaves, but only one root. In the days when I lied in my youth, I swaggered in the sun. Now, I shrink into the truth." If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this kind of ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not That kind of pedantic nagging, the truth is only a root, only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can we achieve the realm of film director and screenwriter art. . As a director, what he lost in his efforts was only his personality, but what he got was the most fulfilling work for him personally. one. In the lying days of my youth, I was swaggering in the sun. Now, I shrink to the truth. "If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not. It is the kind of pedantic nagging, truth is only a root, and only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can it be possible to achieve the artistic excellence of film directors and screenwriters. Transformation. As a director, what he lost in his efforts was only his personality, but what he got was the most complete work for him personally. one. In the lying days of my youth, I was swaggering in the sun. Now, I shrink to the truth. "If you want to say that Yang Dechang's real charm lies in his ambition for "truth", this ambition drives him to plan, plan, restrain, and accumulate energy. In fact, he has long known that "truth" does not exist, especially not. It is the kind of pedantic nagging, truth is only a root, and only by clinging to this root, not indulging in personal complexes and private vision, and constantly reflecting, moving the mirror, and narrating, can it be possible to achieve the artistic excellence of film directors and screenwriters. Transformation. As a director, what he lost in his efforts was only his personality, but what he got was the most complete work for him personally.
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