The night before yesterday, I took my husband to watch "Burning", and he saw Joong Soo, played by Yoo Ah In, shivering and climbed into the car, saying, "It would be too bad if this is over!" As expected, the cast rolled over. . He began to complain that the film was depressing, too disappointed, and everything was in his imagination, "What kind of suspense is this, shouldn't the director explain why he is so perverted?" In his opinion, this is a person who can see the bottom at a glance, and the young people at the bottom are angry A story of revenge. But is it really so?
My disappointment at the time was different from that of my husband. I regret that the reference to reality in the film is too obvious. The youth unemployment problem in South Korea and the disparity between the rich and the poor have destroyed the ethereal and surreal mysterious atmosphere of Murakami’s original work. Too clumsy and real. (Second brush doesn't think so) And did Ben really kill Emi? I'm not sure, I know as much as Chung-soo in the movie, ambiguous, ambiguous. This is not a simple revenge story that can be seen at a glance.
I ask sir, why do you think Ben reads Faulkner's novels? Ben seems to be open to Zhong Xiu, and his last eyes have a will to die that gets what he wants... Mr.'s answer is decisive, Ben knew that Zhong Xiu was following him and wanted to understand him, so he read Faulkner, Ben After being stabbed, he fled a few steps, obviously not wanting to die. Well, I can't talk to him anymore.
The ambiguity of the film is fascinating. I once discussed the artistry of the film. My friend Agatha believed that it was the unspeakable ambiguity that made art its art. Thinking of "Burning" from this, it can make people think and ponder, and it has an ambiguous beauty, which can already become a masterpiece. When I woke up the next day, I was still thinking about "Burning" and couldn't figure it out so I watched the movie again. After the second brush, I am even more sure that this is not a simple revenge story, and the director is not playing with ambiguity and making a mystery.
First of all, the film adopts Zhong Xiu's subjective perspective, coupled with Zhong Xiu's authorship, which intentionally blurs dreams, fiction and reality. This makes the movie present an ambiguous plot direction, rich emotional texture, rather than a simple revenge story.
l The lens of writing acquiesces in the illusory nature of the film text. In the room where Emi disappeared, Zhongxiu was typing out the window. You can also imagine that the movies are all fictional plots by Zhong Xiu from now on. Director Li Changdong said in an interview that "Burning" is also about the medium of the film, which proves the fictional direction of the writing of one of the mediums.
The writing shot shows Ben putting on contact lenses and putting on makeup for his new girlfriend, as if preparing to sacrifice her. This is the second scene in the film where the male protagonist Zhong Xiu is not present (the first scene is a very natural subjective shot, Zhong Xiu follows Ben downstairs, Zhong Xiu looks up at Ben upstairs, and Ben overlooks Zhong Xiu in the fitness club ). In the director's rigorous arrangement of Zhong Xiu's subjective perspective, and his perspective to promote the plot, we have reason to guess that these two places where the subjective perspective is absent are actually due to Zhong Xiu's imagination or fiction in the novel, not the objective lens.
Ben looked down from a high position, and Zhong Xiu looked up from the ground, which exacerbated the inequality between the two in Zhong Xiu's heart. The second imagining of using the cosmetic tools in the box gave him the weight of justice. The rich family who used marginal women to make sacrifices, like plastic sheds, were of no use to society and should be burned. The tyrannical and rebellious factors that burned in his father's blood passed on to him. He contracted Ben out and killed Ben with his father's knife. It doesn't matter whether it's fiction or reality. The director focuses on Zhong Xiu's anger, his view of the world, his process of solving puzzles , "The world is like a riddle", and the choices made by Zhong Xiu, who is lost in it, The judgment that Emi was killed by Ben is only his subjective speculation and conjecture, and there is no third-person calm and objective truth.
Young people have their own enigmatic worlds, Huimei is looking for a meaningful life, great hunger, Ben is looking for interesting pastimes, confident in the natural moral philosophy of burning plastic sheds, Zhongxiu is afraid of the same anger and resistance as her father, and her heart is depressed. Heavy stones. However, these one-sided worlds are all shown to us through the male protagonist Zhong Xiu.
l There are several mysterious and strange scenes that are connected to the dream, implying the illusory nature of the scene. Zhong Xiu followed Ben, but was followed by Ben. When he saw Ben's sports car in the rearview mirror, he was shocked and hid in a garage. When he chased after him, he saw Ben getting off the car in front of the small slope of the reservoir, staring at him. Looking at the scenery in front of her (Zhong Xiu may be thinking, is this where Emi disappeared), Zhong Xiu, who was bent over to hide behind the sports car, straightened up a little bit. Then there is the scene where Zhong Xiu wakes up from a dream. Meeting with the mother whom she hadn't seen in 16 years, the dialogue is strange, the mother giggled and kept looking at her phone before Zhong Xiu woke up from a daze and received a call from her mother. The film intentionally blurs the boundaries between dream and reality, allowing the audience to make their own guesses.
l The appearance of several groups of counterpoints in the film further deepened Zhongxiu's subjective color . The counterpoint of mother and Huimei, both of them wore purple clothes and left Zhongxiu. Before Huimei disappeared, she brought Ben Zhongxiu's house to drink and wore a purple cardigan. My mother, whom I hadn't seen in sixteen years, also wore purple. This dream of her mother found an outlet for Zhong Xiu's thoughts in the daytime. Only her mother said that the "well" exists, and this is what Zhong Xiu is willing to believe. Therefore, Hui Mei's trust in herself, the bond and love between the two are also Existing, in order to convince yourself to find Emi. The mother's difficulty with money was also easily accepted by Zhong Xiu. He could give her the money, which was Hui Mei's psychological compensation in the dream because the money was transferred to Ben's arms.
The confrontation between cats and cattle, Zhong Xiu is most comfortable when taking care of cats and cattle. Do cats really exist? Is Ben's cat Boil? Unpredictable, he named the kitten for this, and the chance that Boil jumped on his body aggravated the ego created by the heart. And the cow mooed at the end, as if to understand Zhongxiu's sorrow, to arouse Zhongxiu's conscience and disintegrate his ego. The director added these two animals, which is about spirituality and has a subtle narrative meaning.
The most important confrontation in the movie is Zhongxiu and Ben.
For Li Zhongxiu in "Burning", the world is full of fog, which is quite Haruki Murakami. Murakami's "1Q84" replaced the Q of the question mark with the metaphor of centralization in 1984. Aomame and Tengo were in a world where they couldn't tell what was different. In short, it was not a mysterious world of the original world. Looking at Murakami's short story "The Burning Warehouse" adapted by Li Cangdong, it is also filled with Murakami's unique ethereal, lazy and mysterious. And when did Zhong Xiu lose sight of the world he was in? Not Emi's appearance, but Ben's appearance.
There is no doubt that the two people have great social status. They originally lived in a mansion in the south of the Yangtze River. They were pampered, slow, and gentle. Zhongxiu lived in the countryside in his hometown. In Seoul, he could only live in a simple rental house. The image of the lowest social class, Zhongxiu saw Huimei appear next to him. Ben, very excited. But the two have a lot in common. If Zhongxiu's father bought an apartment in Jiangnan District when he was aware of current affairs, maybe Zhongxiu would be another book. Zhongxiu likes to read Faulkner, and Ben also buys it with great interest. I don't think he is wary enough to learn about the man who followed him through reading. He pondered everything and was indifferent to human relationships. For example, Emi talked about surrender and loneliness in front of the sunset in tears. Ben moved the topic to the fact that he would not cry, so that there was no evidence of sadness, and he seemed to lack empathy. On the other hand, he He also has a plaything-like interest in people. In his opinion, people who are uneven and polymorphic are very interesting and can comfort a boring life. Zhongxiu has a further meaning for him. He wants to entrust the story to the person who writes the stuff, Zhongxiu, and he finds a person to talk to.
As for Zhongxiu, even though he is inferior and embarrassed, he is still secretly attracted and seeks his own existence in him. He also has that desire to burn plastic sheds. The knife in his father's safe—the anger and violence of his father he hated, as well as the cosmetics in Ben's bathroom box and the various accessories collected in the drawer--he corroborated Ben's emptiness and perversion. Both boxes reflected Zhong Xiu's heart. The demons are all "ego". Most afraid of him, but become him. The director's film Zhongxiu opened his father's safe, and the image effect was as if he had opened the darkness hidden in his heart.
Zhong Xiu's killing intent towards Ben is constantly confirmed and superimposed. Ben not only possesses money and love that Zhong Xiu does not have, but also possesses religion.
Art, family, the arrogance and sacrifice of life by the rich to the poor is cruel. In the end, jealousy and anger burned him, making him an arrogant false god who judged others. The disciples stayed, a weak back after the silence broke out. It doesn't matter whether the final burn is a reality or not. The world is like a riddle, and the anger is so real.
Secondly, the film is adapted from Haruki Murakami's short story "The Burning Barn", which takes its structure and temperament, and then fills the social reality of South Korea into Murakami's postmodern nihilistic characters. ". A fire of anger ignited, and the hero Zhong Xiu stood up.
The first time I watched the first half, I deeply felt that the play was closely matched, there were throws and connections, and there were no omissions. Emi started a pantomime to peel the oranges, "You have to forget the non-existence of oranges" is tossing, and the existence and non-existence of cats are connected. The only light that comes out of Huimei's mouth is toss, which appears in front of Zhongxiu's eyes like a miracle, sublimating the first lovemaking. From moving to father to father's secret to court, the logic is tight. When it comes to burning clothes and talking about burning plastic sheds, emotional success comes naturally.
The casting is praised, the acting skills of the three leading actors exploded, and the expression changes were subtle and unparalleled. Jeon Chung Rui , who played Hui Mei , was selected from a pool of thousands of people and was full of aura. Friends said that she had the hysterical temperament of a literary woman. The part of peeling the oranges while talking and eating. Let's go into Murakami's novel in seconds and lighten the texture of the film. The pantomime clips of peeling oranges and dancing naked in magic hour at sunset are both soulful moments in the movie, and they are beautiful beyond otherworldly beauty. Ben paused and nodded in moderation during the conversation. When he was yawning, he saw Zhong Xiu's eyes and smiled. He came out of Murakami's novel, and his temperament couldn't be more correct. Liu Yaren, who bears the anger of reality's center of gravity, played a very convincing and unforgettable performance.
I like that movies use percussion with a little psychological music to guide the suspense and make transitions. When Zhong Xiu opened the safe, he noticed the sound of birds chirping for a moment. As Emi danced breathlessly, birds flew by, and while she was asleep, we heard birds chirping. When Ben told Zhongxiu about the philosophy of natural morality and coexistence, birds flew across the sky. And Zhongxiu was running to find abandoned plastic greenhouses in the dense blue, and there were birds in the sky. The bird seems to be shady and beautiful.
Finally, the film has a critical voice in the Korean film critics. Criticizing Li Changdong's works also made female characters disappear "with the disappearing women as the driving force of the plot". The disappearing heroine is only to serve the confrontation between two men, the awakening of the hero. The power of female independence is absent. Both of Emi's monologues mention great hunger, she dances towards the sunset at the end, and she dances to the end as great hunger, and then bursts into tears, this is the last time we see Emi in the movie. Emi expresses her lack, but lacks the ability to act. She is indeed a narrative character in the film, burning the warehouse itself. After reading it, everything will be made up by Zhongxiu, including Huimei. Among the three, Zhongxiu was the most genuinely angry, Faulkner-style, as light as Ben and Emi, with a sense of alienation, and Murakami-style unreal.
No interpretation can surpass watching the movie itself, the loneliness in my heart is separated out and the trembling, touching the surreal and beautiful inner voice, is immersed in the gloomy and obscure state of mind. However, as a friendly reminder, this film is not suitable to watch with a partner/friend who is looking for entertainment and relaxation.
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