1/ Watching "The Assassin Nie Yinniang", I saw their backs go to the vast distance at the end, the music grabbed people, and tears fell.
I sat in my seat and waited for the subtitles to finish, and the people in the front got up and chatted about "the pace is too slow" or something.
This is an era when it is too easy to complain. We even go to the cinema to watch a bad work, because we can enter a discourse field where everyone complains together, find the sense of existence and pleasure when thousands of grass and mud horses pass by together, and find the relationship between the individual and the collective. Of course, when a negative work is used to vent negative energy, it is true that the negative and negative will become positive, and it will not be broken or standing. We use the reaction force of Tucao to build a common "three views", and use saliva to closely depend on each other in a world where ritual collapses and music is broken. , This is our era, and we are in close contact with each other.
However, "Assassin Nie Yinniang" is not for complaining, it is for immersing in it. It does have requirements for the audience, but it does not necessarily require the audience to read the original work or script, interviews or comments first. What it needs is concentration and patience, and emptying oneself so that these people, scenery, light, and stories can enter In the heart, and then in the heart, find the context of the story, the departure and stay of the characters, and cherish the past clouds of history and the eternal clouds of mountains and rivers in my heart.
2/ At the story level, in fact, "Assassin Nie Yinniang" is quite different from the Tang Dynasty legend "Nie Yinniang". "Nie Yinniang" is a story that is vague, and the movie tries to restore the characters in the novel to history. A strict and symmetrical relationship between the genealogy and structure of characters is established in the logic.
On one side is the central court, the core characters are Princess Jiacheng who surrendered to Tian Chengsi, her sister, Princess Jiaxin, and her disciple Yinniang, and the other side is Wei Bo, who is on the edge. 's. The foundation of Wei Bo's power is the powerful Tian family, but the Tian family also has blue and green divisions. Tian Ji'an's uncle who appears in the movie is pro-court, while his uncle, Yinniang's father, Nie Feng, tries his best to keep silent. Show tendencies. There are also two important figures who are in the bureau and are free from politics, one is Tian Ji'an's concubine Hu Ji, and the other is a mirror-grinding boy.
In this movie where the characters try to be as quiet as possible, Tian Ji'an is the only one who can "gag". He can get angry with his uncle above the court, or get angry with his wife inside the curtain, but these two belong to Different camps - this is the contradiction of Tian Ji'an. He is not a purely political animal. He is rich in emotions, but he is divided emotionally. There is a kind of pleasant love to have. But these things he has are not completely, firmly belonged to him, they restrain each other and try to lead him in their own direction, which makes this young vassal always in a kind of anxiety and confusion. middle.
In contrast to Tian Ji'an, who has a lot, Nie Yinniang has nothing. She is constantly being deprived, taking away the first love of the childhood sweetheart she was promised to marry, letting her leave her biological parents, and letting her forget about human relations and focus on kendo. This is the effect of omnipresent and ubiquitous politics on a tiny individual. The tough shaping, in the final analysis, is to make her an omnipotent weapon, an invisible but crucial force between military operations and political games.
This relationship between the center and the edge can change various positions and emotions, and can even be associated with the location of director Hou Hsiao-hsien, but as far as the film itself is concerned, there is a declining center and a not strong enough. edge. The stalemate struggle between centripetal and centrifugal forces has given those inherently important, the royal princesses and the sons of the feudal family, a duty they have to perform or a name they can accomplish, and they have to go their separate ways. ——This seems to have surpassed politics and become fate.
3/ In the movie "Assassin Nie Yinniang", she replied to her real name, she was called Qiniang, Yaoniang.
So in parallel with history and political struggle, the film also tells the story of an individual. Some individuals, they are very sensitive to the structure, and try their best to be loyal to their mission in the structure, such as Princess Jiaxin, such as the Yuanshi, of course, they also proceed from their own interests, but when they know the secret of the structure After running with it, sometimes you can temporarily grasp this structure to maximize your own interests. There are also some people who are ignorant of the structure, such as Hu Ji, she is just a trivial dancer, only the love of the protagonist at this moment, she also has her own survival strategy, but whether she can survive or not is not up to her at all. of.
For Nie Yinniang, she was trained to serve this structure for many years, but she broke away from this structure to find herself and her direction. ——On this point, the movie is actually very abrupt. Yinniang is not even the main bearer of the plot, she is a returner and an observer. When she first returned to Nie's house, she took a bath; she heard two stories: Qingluan dancing mirror and Yujue were given away; she went in and out of Tian Ji'an's residence and saw various aspects of his life; she followed her father to escort her uncle The team that went to the place of relegation repelled the assassins sent by the Yuan clan; she rescued Hu Ji; and finally she and the Mirror Boy went to Silla.
The addition of the allusion to Qingluan's dancing mirror seems to be inspired by the original mirror-wearing teenager. Princess Jiaxin mourned that she had no kindred, but Nie Yinniang didn't seem to be mourning for it, she found herself instead of loneliness? Or she has an understanding that can get rid of the meaning given by the structure and find a direction and a path for herself.
Qingluan Dance Mirror is a premise that is deduced from the ending, and it is a deliberate improvement in logic. But this beautiful allusion does not help Nie Yinniang as a "character" with concrete credibility, plump and three-dimensional, and in this part, the viewer can only reach a "tacit understanding" with the creator. I understand the structure you put up, the ending you put in your characters. so. Also good.
From the female audience's point of view, it seems that Yin Niang returned to Myo Niang after a period of time, and finally became another Yin Niang. This is indeed something that can be understood through observation.
4/ Regarding the "slowness" of the movie, I don't think it is slow at all. Speed is relative.
The characters in this movie do not arrange many plots for them, but try their best to give a character a time and space scale of a complete action. For example, play the piano; for example, play with children; for example, meditate; for example, tell a story. Thus, it is less necessary to know a person from the point of view of the plot, but to access him or her from the situation and the state.
Hu Ji waited for Tian Ji'an to come behind the thin curtain. The trembling of the light spot, the unmoving posture of the characters, and the hidden emotions. This is one person waiting for another. The action of "waiting" is short, it is not "waiting". Hu Ji is waiting, Yin Niang is also waiting, or "waiting" is not important, just a period of time has passed in the mind, and it is the same for them, and the same for you.
Staying in such a long shot, gaining momentum every second, the details are clearly presented without detracting from the whole, the mood is almost a little nervous, like watching a bow gradually fill up... The end of a very good long shot Yes, the body will breathe a sigh of relief.
The women in the movie, the princess, Mrs. Nie, Yuanshi, and Hu Ji, all reflect who they are by their actions and states, so the audience must be attentive, and observation requires concentration, or, in other words, "Assassin Nie Yinniang" A different "way of viewing" is really needed.
5/ Compared to the novel, the movie is actually much more tender. A novel is a "legend" -- a strange person, a strange thing. After Nie Yinniang came back, her relationship with her parents was rather weak. The marriage between her and the mirror-wearing teenager was more of an identity cover, but her martial arts skills were extremely powerful, and it was written in the fantasy school. In the movie, the characters are brought into the real world, and even martial arts is a realistic way of playing. Her parents still love her very much, and the mirror-wearing boy is full of admiration for her. She is just like a leaf, turning around in the whirlpool of political struggle.
However, this movie still maintains an atmosphere of sadness and forbearance. What is it that envelopes this movie like a falling cloud?
Because in this battle of center and edge, most people have to stick to a nihilistic direction? So parted, got married, became a monk, gave birth to children, slaughtered dissidents, and worked hard to hone your body and mind?
Or because this is the Tang Dynasty after the An-Shi Rebellion, it is the dignity that it strives to maintain in decline, and it is the desire and powerlessness after the separatist regime. Everyone feels their own pain, and because of pain, there is a tolerance for pain.
But there are some things that are beyond people.
is natural. with beauty.
The trees were reflected in the lake, and a flock of birds flew out. The clouds and mist on the mountain spread from here to there. When two people fought for their lives in the birch forest, the clouds on the treetops were beautiful.
There are also those curtains, clothing patterns, candlesticks, cornices, they are also beautiful. There are also smoke and fire.
This is the biggest pain. People are so limited. Beauty is the basis of limited people.
6/ If the center is geographic, it can also be historical. The Tang Dynasty is a center of our history, and the passing Tang Dynasty is the source of all our sense of decline. At the end of the movie, Nie Yinniang and the young mirror-grinding boy were heading towards Xinluo, and when there was only a small back on the screen, I thought of the grandmother in "My Childhood". She always called her grandson home in the evening, calling her "A Xiaogu, A Xiaogu..." Later, she became more and more confused. She didn't know where her home was, only in the mainland. She walks along a dirt road, far and wide, getting smaller and smaller. That's also a long shot of the back.
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