"Midnight Cowboy" (replaced with "Cowboy" in the following texts) brought Rizzo's life to an abrupt end at the moment closest to the sunshine and coconut trees in Miami, and made this film the only film to win the best Oscar so far. The film's x-rated movie.
Although "Old Pao'er" failed to make the sixth master run to the finish line to compete, he fell heavily on the ice of the wild lake with a tragic Donjiko-style charge. However, Feng Dao, who was not an actor for the first time, won the first best actor crown in his life when he did not attend the scene. At that time, he sang "The Price of Love" with thousands of fans in Beijing Gongti.
The two films are nearly half a century apart, yet the taste is so similar. Both have been widely praised, but they have also been controversial. In fact, it is just that the old tradition shreds the truth in front of the world in a certain "ugly" but lamentable form in the face of the new world.
In terms of character characteristics, Chobak and Liu Ye are out of tune with the "big environment" in terms of temperament, attitude, and principles of doing things, and seem so out of place.
Chobak came to the metropolis of New York with smugness from an obscure little restaurant in Texas far from modernity. A cowboy appearance is his biggest feature. In a modern street, with all kinds of people dressed in fashion and looking like they never stop, this denim looks so abrupt and nervous. He had no communication, no connection with his surroundings, as if Alice had fallen down a rabbit hole. There were always stories about New York on the radio, and perhaps only then would he feel that New York was so close to him, that there was no distance.
Liu Ye is an "old Beijing" living in a hutong. Carrying cages and racking birds, skating in Houhai, never giving in to the powerful, emphasizing affection, righteousness, honesty, and being reasonable and polite. A bad relationship with his son, a lover, a group of decent or low-level brothers who spend "sunny days" together.
The setting of the characteristics of the two characters makes it self-evident to the viewers of the era they represent.
Joe Buck's "cowboy" identity is a metaphor for the cowboy era and the cowboy spirit. Although the cowboy era is short in American history, it has been deeply engraved with a heroic and elegant memory of the era. In a way, it is a symbolic cohesion of American pioneering spirit, heroism, and romanticism. The American society in the 1960s was a turbulent era of postwar reflection and liberalism.
In terms of age, Liu Ye should have been born in the 1960s and 1970s. This generation experienced the Cultural Revolution with their families as children and youth. These children from the compound or the alley were divided into two tit-for-tat factions, "veterans" and "stubborn masters". One of the appellations of "Old Pao'er" originates from Beijing's Tiaopaoju Hutong, which has been a prison since the end of the Qing Dynasty. After 1949, the prison was transformed into a labor reform bureau, which specialized in detaining hooligans such as fighting and fighting. The hooligans are proud of the number of times they have entered the bureau, so the rhetoric of "Old Jinpao Bureau" is simplified to "Old Pao'er" and becomes the name of such people. In a conversation between Xiaobo and Liu Ye in the film, Xiaobo also mentioned that Liu Ye had been in prison. From the conversation of Man San'er, "Talk Box" and Xiaobo talked about Liu Ye's "heroic deeds" in those years, as well as the guys who were together at the end of the film. Identity is defined.
The development and ending of the stories of the two films may seem unexpected on the surface, but they are also reasonable.
"Cowboy" was forced to pawn his only connection to New York, the radio; after a series of almost comical sex roaming, his sexual fantasies in New York came to naught and he clinged to a sick pimp; Florida pimp incontinent and died on the road. Chobak, who had changed out of his denim clothes and abandoned them on the street, closed his eyes for Rizzo, and was alone in the car that was still moving forward.
Cowboy wandering in the middle of the night ("Midnight Cowboy") undoubtedly implies the film's most basic sense of rebellion. The transition from cowboy to male prostitute is a desecration of the heroic image, a subversion of the director's American fantasy, and a rebellion that echoes anti-war, sexual freedom, and hippie culture. There is no American dream, no American spirit, no American fairy tale, only naked life.
The sixth master, dressed as a general and armed with a samurai sword, went to Yehu alone to make an appointment. His arena is still there. But his heart couldn't bear the weight, he could only spit the last breath of his life in the rivers and lakes where he used to be, and return to his heroic era.
The "contract spirit" and heroism of the rivers and lakes where Liu Ye is located have long since faded out of people's vision and memory with the changing times, but this does not mean that they have been abandoned. Xiaofei's respect for Liu Ye and Xiaobo's "Juyi Hall" may fade with time, and more like-minded people may gather.
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