Text: East SIR
Public account: Abandon the book
As usual, the Busan International Film Festival invites professional filmmakers from all over the world to evaluate Asian films every five years and update the list of the top 100 Asian films. Japan accounted for 30 seats and South Korea 15 seats.
However, in terms of high rankings, Chinese-language films are clearly dominant. Among the top 10, Chinese-language films account for 5. Hou Hsiao-hsien's "City of Sadness" beats Yasujiro Ozu's "Tokyo Story" to lead the entire list, and Yang Dechang's "Ku" "The Murder of Lingjie Teenagers" squeezed out the top three of "Rashomon" by Akira Kurosawa.
"Guling Street Teenage Murder" is adapted from a real case, and "Jianzhong" in the background of the story is director Yang Dechang's alma mater. The meaning of the film is not to accurately restore the incident, although the case itself had a great impact on Taiwan at that time, and even had a future juvenile protection law because of it.
In the film, Director Yang Dechang analyzed the Taiwanese society at that time with the precision of a scalpel. At the beginning of the film, Xiao Si, played by Zhang Zhen, was asked to be a parent because of what the school said was a mistake, and his father was reprimanded by the teacher. Xiao Si stood alone in the center of the room. On the screen, Xiao Si was flanked by four straight, sturdy pillars, like a cage imprisoning Xiao Si. From the later films, we can see that Xiao Si is an idealist, and the cage of social reality traps him tightly.
Therefore, Xiao Si's assassination of Xiao Ming at the end of the film can be regarded as the death of an idealist. Xiao Ming lost her father early, and her mother was weak and sickly. She followed the Kuomintang army withdrew to Taiwan. "You have to grow up quickly and take care of this family" is what her mother expected of her, so she compromised with the society and presented a more realistic attitude in this country. The social compromise is her way of life.
And this way of living is a kind of harm to Xiao Si, who loves her deeply. It is the knife that the society stabs Xiao Si. In desperation, Xiao Si can only return a knife to a knife. Social. Not even an idealist's escape from the cage, but a broken net with this cage.
When killing Xiao Ming. Xiao Si cried bitterly, "You are shameless and worthless." This sentence corresponds to what he said to Xiao Ming earlier, "Don't be afraid, be brave".
At this moment, Xiao Si adheres to his father's teaching, "Believe in your own efforts and you can change your life." It was this father who said righteously and sternly when Xiao Si was punished by the school for so-called mistakes, "If a person wants to If he doesn't make mistakes, if he apologizes, if he tries to please him, there is nothing he can't do." What we see at this moment is the arrogance and awe of Chinese intellectuals. What we see is the genetic inheritance of the small four idealists.
However, it is this father who told his son in the second half of the film that he does not smoke and can save for household use. When he lost his freedom due to inexplicable political framing, he was cautious and even servile towards the bureaucracy. On the one hand, people can see the society's crushing of loyal and honest intellectuals, and on the other hand, people have a deeper understanding of Xiao Ming's fate and have a deeper sympathy for her choice.
In the film, in addition to Xiao Si, Xiao Ming, and his father, there is also Hani, a gang boss. Xiao Ming said that Hani "actually he is the most honest person. The world will not be changed by you"
And the slicker, the slicker who was transformed by society into a gentle boy. And the pony, who said, "Woman, give her something to eat, something to wear, and then fool around, isn't that the case?" And Elvis, the Elvis who likes to say "give me face". There is also "Wang Gou", the "Wang Gou" who has both sides and sues his friends.
The film actually describes the society's chewing and swallowing of this group of people. Some of them perished physically, some were disillusioned with their ideals, and some were like walking corpses, only to have fun.
Regarding this society, the subtitles at the beginning of the film read, "Around the 38th year of the Republic of China, millions of Chinese moved to Taiwan with the Nationalist government. Stable growth environment. However, in the process of the next generation growing up, they find that their parents are living in the uncertainty and fear of the future. These teenagers, in this uneasy atmosphere, often organize gangs to strengthen their children. Weak will to live."
In recent years, we've had the pleasure of seeing restored footage, and we've seen more military vehicles in the background and heard more tanks in the background than the original dim and blurry quality. In those years, the white terror of Taiwan's riot period always shrouded the film in a color of pessimism, despair, helplessness, and terror.
In the nearly four-hour film, the director described Lu Chen in Shenzhou in a multi-line narrative film language, the political wrestling, gang struggles, the helplessness of intellectuals in the new society after the Kuomintang retreated to Taiwan, and the disillusionment of a generation's ideals. He completed a rational observation of a society with a delicate and calm film lens, and recorded a historical group portrait of an era.
The two-hundred and thirty-seven-minute film is completed in one go, meticulous and meticulous, and every detail is remarkable and thought-provoking.
For those of us watching movies in mainland China, our father who was reported by our friends and was trapped in prison; our mother who was implicated and unemployed; intellectuals were at a loss in the face of the violent social movement; even Xiao Si, Xiao Ming, father, Hani... … We are not necessarily far away from each other, and we have never been unfamiliar with this situation.
Therefore, the film is not only a movie epic about a specific period of Taiwan, but also a sociological observation report of a specific historical period in the Chinese world.
Yang Dechang and Hou Hsiao-hsien co-founded the Taiwan New Film Movement, and they are both recognized as masters by the world. However, compared with Hou Hsiao-hsien, Yang Dechang is more sharp and cold-blooded, and is a "scalpel" for dissecting Taiwanese society and Chinese society. Therefore, in the Chinese film industry, and even in the film industry, there are many younger generations who face Hou Hsiao-hsien with the courtesy of disciples.
As for Yang Dechang, it is unprecedented for Chinese-language films. We are not in a hurry to come to a conclusion, but at least now, Yang Dechang has left us for 14 years, and there will be no Yang Dechang after Yang Dechang.
Attachment: The latest ranking of the top 100 Asian films at the Busan Film Festival
1. "Sad City" (Hou Hsiao-hsien, 1989)
2. "Tokyo Story" (Ozu Yasujiro, 1953)
3. "Guling Street Teenage Murder" (Yang Dechang, 1991)
4. "Rashomon" (Akira Kurosawa, 1950)
4. "In the Mood for Love" (Wong Kar-wai, 2000)
6. "Song of the Earth" (Satyajit Ray, 1955)
7. "Lady" (Jin Qiyong, 1960)
8. "Spring in a Small Town" (Fei Mu, 1948)
9. "Close-Up" (Abbas Kiarostami, 1990)
10. "One One" (Yang Dechang, 2000)
11. "Parasite" (Bong Joon-ho, 2019)
12. "Seven Samurai" (Akira Kurosawa, 1954)
13. "Floating Clouds" (Mikio Naruse, 1955)
14. "The Story of the Rainy Moon" (Kenji Mizoguchi, 1953)
14. "The Big Red Lantern Hanging High" (Zhang Yimou, 1991)
14. "Late Spring" (Ozu Yasujiro, 1949)
17. The Taste of Cherry (Abbas Kiarostami, 1997)
18. Tropical Diseases (Apichatpong Weerasethakul, 2004)
18. "The Heroine" (Hu Jinquan, 1970)
18. "Song of the Big Tree" (Satyajit Ray, 1959)
21. "Breakthrough" (Wong Kar-wai, 1997)
21. "Miryang" (Li Changdong, 2007)
21. "Song of the Great River" (Satyajit Ray, 1956)
21. "Where Is My Friend's Home" ((Abbas Kiarostami, 1987)
25. "Platform" (Jia Zhangke, 2000)
25. "Old Boy" (Park Chan-wook, 2003)
25. "Farewell My Concubine" (Chen Kaige, 1992)
25. "Spirited Away" (Hao Miyazaki, 2001)
25. The Music Room (Satyajit Ray, 1958)
30. "When a Woman Steps Up the Stairs" (Mikio Naruse, 1960)
30. "Chongqing Forest" (Wong Kar-wai, 1994)
30. "A Farewell" (Asghar Farhadi, 2011)
30. "Manila: Under the Clans of Neon" (Lino Broca, 1975)
30. "Mother" (Bong Joon-ho, 2009)
Feng Junhao "Mother", once nominated for Cannes, Won Bin's acting peak masterpiece
30. "Western Convenience System" (Lin Quanze, 1993)
30. "Memories of Murder" (Bong Joon-ho, 2003)
30. "Women Trilogy" (Mazyan Makmalbaf, 2000)
30. "Yingxiang" (Lino Broca, 1976)
38. "Flowers on the Sea" (Hou Hsiao-hsien, 1998)
38. "My Neighbor Totoro" (Hao Miyazaki, 1988)
38. "Clouds Covering the Stars" (Livik Gartak, 1960)
38. "Vengeance is on Me" (Shohei Imamura, 1979)
38. "Grave of Fireflies" (Takahata Isao, 1988)
38. "Long Live Love" (Cai Mingliang, 1994)
38. "The Story of the Remnant Chrysanthemum" (Kenji Mizoguchi, 1939)
38. "Uncle Boonmee Who Can Recall Past Lives" (Apichatpong Weerasethakul, 2010)
38. "Alive" (Zhang Yimou, 1994)
48. "Clouds" (Mikio Naruse, 1967)
48. "Chaos" (Kurozawa Akira, 1985)
48. "Heaven and Hell" (Kurozawa Akira, 1963)
48. "Crouching Tiger, Hidden Dragon" (Ang Lee, 2000)
48. The True Story of Ah Fei (Wong Kar-wai, 1990)
48. "Burning" (Li Cangdong, 2018)
48. "Mints" (Li Changdong, 1999)
48. "Tiexi District" (Wang Bing, 2003)
48. "Walking on and on" (Hirokazu-eda, 2008)
48. "The Three Gorges Good Man" (Jia Zhangke, 2006)
48. "Mandala" (Lin Quanze, 1981)
48. "The Lover Under the Olive Tree" (Abbas Kiarostami, 1994)
48. The World (Jia Zhangke, 2004)
62. "People from the Wind Cabinet" (Hou Hsiao-hsien, 1983)
62. "Daughter of Sand" (Edict Kawara Hiroshi, 1964)
62. "Doctor Sansho" (Kenji Mizoguchi, 1954)
62. "The Elegy of the Poet" (Guru Dutt, 1957)
62. "I was born, but..." (Ozu Yasujiro, 1932)
62. "The Desire of Life" (Kurozawa Akira, 1952)
62. "Little Shoes" (Majid Majidi, 1997)
62. "Floating Grass" (Ozu Yasujiro, 1959)
62. "Manila at Night" (Ismael Bernal, 1980)
62. "Ruan Lingyu" (Guan Jinpeng, 1991)
62. Moments of Innocence (Mawson Makmalbaf, 1996)
62. "Nobody Knows" (Hirokazu-eda, 2004)
62. "Forward, God Army! "(Yuan Kazuo, 1987)
75. "Mistakes" (Yu Xianmu, 1961)
75. "The Thief Family" (Hirokazu-eda, 2018)
75. "The Sound of the Mountain" (Mikio Naruse, 1954)
75. "Red Line Zone" (Kenji Mizoguchi, 1956)
75. "Love and Mind" (Mikio Naruse, 1964)
75. The Lonely Wife (Satyajit Ray, 1964)
75. Double Consciousness (Marnie Kaur, 1973)
75. Examination of Narayama Festival (Kinoshita Keisuke, 1958)
75. "The Swing" (Aktan Abdkalykov, 1993)
75. "Goddess" (Wu Yonggang, 1934)
75. "Thank you, Mr. Hiroshi" (Hiroshi Shimizu, 1936)
75. "Dream of Life" (Hou Hsiao-hsien, 1993)
75. "Fireworks" (Take Kitano, 1997)
75. "River" (Cai Mingliang, 1997)
75. "Yellow Earth" (Chen Kaige, 1984)
75. "Tent, Tent" (Bakdia Kudonazarov, 1993)
75. "Island of Different Fish" (Jin Qiyong, 1977)
75. "Jupiter's First Love" (Yasmin Armour, 2006)
75. "Childhood" (Yang Dechang, 1985)
75. "Blackboard" (Sharmila Makmalbaf, 2000)
75. "Kandahar" (Mawson Makmalbaf, 2001)
75. "Blessing" (Apichatpong Weerasethakul, 2002)
75. "Drunken Painting Fairy" (Lin Quanze, 2002)
75. "The Legend of Chunxiang" (Lin Quanze, 2000)
75. "Spring, Summer, Autumn, Winter and Another Spring" (Jin Ji-deok, 2003)
75. "The Road to Freedom" (Serif Gren/Yumaz Guni, 1982)
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