I don’t want to say more about the storyline, but we can roughly divide it into two parts. The first part is the deaf-mute person Lu’s perspective. After the accidental death of the little girl, the boss’s point of view has almost replaced Lu. In his eyes, it is still poverty and helplessness, but these are all covered by his own hatred, so although his poverty is profound , But not what he felt personally.
In fact, in this way, although the film adopts a two-point continuation method in the narrative, it actually expresses a theme in essence, that is, poverty. What is the root of poverty? This involves another character, Lu's girlfriend-Yongmi.
The rescue of Lu by the character Yongmi is not only a question of love, but also of social significance. The director has an identity symbol for him, that is, a fanatical leftist. Although it seems that nothing can be achieved, it is a difference between the rich and the poor. His hatred is far more theoretical than Lu's personal experience. Although his behavior may not be what a real revolutionist wants to do, his existence has elevated the film to a new level and also extremely demonstrated the director's ambition. .
Yongmi pretended to be a deaf and met Lu, who was also in the school for the deaf. It is undeniable that regardless of film and television works or real life, some people with disabilities often represent the disadvantaged groups of society. This is also true for the deaf and dumb. For modern society, the real disadvantage is poverty. There is no such thing as poverty. Questionable. As a result, the seemingly comical plot arrangement of Yongmi's involvement in the school for the deaf and mute has the director's internal complex, that is, Yongmi has been standing on the basis of social weakness from the beginning, and afterwards, Yongmi's help to Lu can be added. There is no doubt that Yongmi represents the disadvantaged and the spokesperson for the poor.
Yongmi failed to smuggle into North Korea. Later, he established a left-wing organization with only one person, and promoted his ideas on the street. At this point, Yongmi is helpless and has no support. In other words, she is a lonely hero. She can only look at and treat the injustices she sees in society with her own consciousness. This is actually the state of many aspiring revolutionaries living on the edge of food and clothing, but the director obviously does not want this helpless existence, so at the end the scene where the so-called terrorist organization avenges Yongmi's revenge is arranged. I didn’t make any preparations in the previous article. Even Yongmi’s words before his death are likely to be treated as a joke by the audience, so the four people who played with the knife looked extremely abrupt when they stood in front of the boss, but it is precisely this abruptness that shows The inner power of poverty, hidden, and exploded at the right time, although it is only a small area, it shows the social instability.
Yongmi saw Lu’s difficulties, and she suggested that Lu hijack the boss’s children in exchange for money for treating her sister’s illness. Instead of killing the rich and helping the poor, it just allows the poor to look at the disease and live a better life. This actually has no effect on the rich. Obviously, Yongmi is not a terrorist, nor a gangster for personal gain. She is only a requirement of society, and she is an image of a revolutionary. Although this suggestion of Lu is objectively to help him in his plight, it is subjectively a small realization of his inner political proposition.
But the incident was not as perfect as it was planned. Lu's sister could not bear the plight, and the little girl drowned unexpectedly, and things became extremely bad. The death of his sister made Lu a real proletarian, he had nothing, and at this time, Yongmi accepted him physically. Generally speaking, various artists have a fascination with sex, and have found various reasons for sex, as well as various deep social roots and symbolic meanings. This film is no exception. Yongmi’s sex is the salvation of Lu, a true owner of nothing, that is, the acceptance of the poor by the revolutionaries. Although the film can be said that the moment when the eyes meet each other, the process of sex is just the same. Destined, this seems to be love at first sight, but in essence, it means that the roots of the revolutionaries are in these disadvantaged groups, that is, two people are originally a class. This cannot be changed, and it can also be tolerated or tolerated by each other. The prerequisite for acceptance.
But the death of the little girl was terrible. Although Yongmi’s plan was with good wishes, the drowning accident was reasonable. The little girl is very naive, but she is the daughter of the boss, a destined wealthy class, and the destined successor of the wealthy. So her death is actually a kind of destruction to the future of the wealthy, that is, to the wealthy. Whether the money people can make a long-term destruction, although it is unintentional, as long as the proletarians have this kind of revolutionary aspirations, there will definitely be such conflicts. So when we saw the boss looking at the photos of Yongmi and Lu and the little girl’s affection, we all thought that the boss would let Yongmi go, but the director ruthlessly let Yongmi die. In any case, this contradiction between rich and poor is Irreconcilable, although it can exist temporarily, it is impossible to compromise with each other.
After the little girl died, the focus of the film began to turn to the boss. At this time, there was a detail, that is, the police asked about the boss’s history. The boss was originally an electrical engineer. This is very important. It not only provides a guarantee for the plot setting in the future, but also reveals the boss's sociality. He has received higher education and finally became a rich man. His identity as a rich man was not born, but was formed through his own efforts. He even suffered from his wife's blindness. So from another perspective, he understands the difficulties of the poor on the one hand, and on the other. On the one hand, he also hates poverty. The most normal psychological opportunity for a proletarian to become a wealthy man, so he has what he said at the moment when he killed Lu later in the film, knowing that you are a good man, but you must kill you. Of course, this mental state also shows that he has the possibility of serving as the father of the child who died of poison.
The plot of the little girl’s cremation is extremely horrible. The camera stretches into the coffin. The ragdoll’s head is turned off, which is more in line with the overall style of the film, but the appearance of the little girl is more or less elusive. The dripping little girl asked Why didn't my father teach himself to swim?
The boss’s nostalgia for his daughter can be seen, but more importantly, the boss already knows that his daughter’s death was indeed an accident, but he still can’t let Lu and Yongmi go because the accident happened because these wealthy people treated the wealthy. The challenge of people, an image of maintaining the wealthy class was immediately established. Similarly, in the process of searching for clues, the boss saw the living dilemma of the disadvantaged. The most direct stimulus was the family who was forced to take poison because of his indifference. The boss was conscientiously called to save that. There is no dead boy for the time being, and he serves as his father.
But what Yongmi did at this time was to help Lu get revenge on the group of people who lost their conscience in buying and selling organs. These people who buy and sell organs are obstacles to the wealthy and the unpaid, but in fact, they can survive precisely because they rely on the wealthy to be parasitic, so in fact, although they do not represent the wealthy, The harm to the proletarians is equivalent. When Yongmi handed her political opinions into the hands of these people, it was actually a mockery and did not arouse conscience in the slightest.
At the same time that Lu took revenge, the boss also found Yongmi and killed Yongmi with electrical appliances, which represent absolute modernity. Later when Lu was captured, the boss also used this electrical appliance. For the proletarians, perhaps modernization itself is The biggest or deadliest injury, and the main industrial reason why the rich have money is the energy power of electricity.
The little boy who took the poison finally died. The boss who had basically completed his revenge no longer admitted that he was the father of the child. The completion of the revenge meant that he had to return to his wealthy class. His conscience had been lost in the killing, even though he Knowing that the poor may not be bad people, but if the poor destroy the lives of the rich, they can only be eliminated. This is something the rich must maintain.
Lu's death was reasonable, his death was completely released in the water, squeezed dry, and drained.
When we feel the emptiness of the five internal organs due to the excessive bloody and violent methods in the film, and willingly accept this kind of plot and lens challenge similar to self-abuse, we often ignore the director’s social desire conveyed by the film (I hope this is more A social desire rather than a political desire, because the difference between the rich and the poor is what we can most feel). For this film, the clue is definitely revenge, only a change in the perspective of the character, from Lu to the boss, but the clue to its spiritual connotation is Yongmi. In my opinion, if you understand this person, you can understand the entire film.
As for the lens language and bloody plot settings, it only plays a supplementary role to the cruel exaggeration. Of course, it is not suitable for children!
2006-10-12
Han Xi in Tongzhou
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