"Children of the Rivers and Lakes" is even better than "The Old Man of the Mountains and Rivers". It is a typical Jia Zhangke movie. It puts people in a big era and puts them under fate, which is sad but true.
Like Liang Zi in "The Old Man of the Mountains and Rivers", Binbin (Liao Fan) was not able to escape the hand of fate. In "The Old Man of the Mountains and Rivers", the film and television plot of course should be Liang Zi's return to his hometown, so that the first love who broke up at the beginning regretted it after encountering someone unkind. , but the fact is that he went out to work and contracted pneumoconiosis. He returned home in a dismal state, and died in despair on the cold Tukang.
Similarly, in "Children of Jianghu", Binbin failed to come back to take revenge for "Thirty Years of Hexi", but dragged his crippled body, barely maintaining the dignity of his "old brother", living in embarrassment, and in the end he didn't know what to do end. In the low-pixel picture of the monitoring monitor, a cleverly blurred and lonely face is projected.
The plot is arranged in this way not pretending to be esoteric but highly realistic, and life is the greatest drama.
As a friend put it:
"The thing I admire most about Section Chief Jia is that he seems to be the only director who observes and describes (whether successful or not) the current mentality of the Chinese people and the world. Others are either wilted/pseudo-or slumped, or floated, or both. pity. Every era should have its own recorder."
Jia Zhangke is the recorder of our era. Recently, Jin Yong passed away, and many post-80s posted to collectively miss their youth. In fact, Jin Yong's martial arts world is just the spiritual dream of post-80s. It is as beautiful as a selfie with a beautiful face. will not believe.
Jia Zhangke's camera is our real life, from Guan Dao collar suit, wide leg flared pants, double card tape recorder "Platform" to red satin black leather shoes singing "How Much Love Can Come Again" street performance, Xu Zheng blowing on the green leather train (don’t ask me if I’m state-run or private, we’re all prisoners of the universe!), the boss who dances the national standard dance on the grave, the Christian thief who prays before dinner, and Qiao Qiao’s father in the coal mine radio station who speaks the language of the Mao era , it's all very real, figurative, and precious.
Jia Zhangke's sensitive feelings, delicate and attentive lens narration, and rough picture texture quickly bring us into the changes of mountains and rivers in China for 30 years, and the changes of the world. To understand "Children of the Jianghu" as the nostalgic sentimentality of the old generation of Jianghu people towards the golden years, and the obsession with the order of the Jianghu, I think it is too small. Jia Zhangke is still talking about the common dilemma of human beings: the choice between love and righteousness, the love that is too big to be repaid, the situation is greater than the helplessness of people, and the regret that it is better to be broken than to live. I believe this is the reason why Jia Zhangke's films enjoy an international reputation. Eastern and Western cultures are very different but human emotions are the same. This is the starting point for all masters to become masters.
When Binbin was beaten, Qiao Qiao knew that collecting guns was a serious crime, and he believed that he was not a Jianghu person, so he still rescued him and took the risk of five years in prison alone. Why didn't Binbin pick her up when she was released from prison? Later, in the humble hotel in the night rain in Fengjie County, a tear in the corner of Bin Bin's eyes, everything was silent.
Five years in prison transformed Qiaoqiao from a little girl outside the Jianghu into a person in the "Jianghu". Why did she bring Binbin back to her side, and why did Binbin choose to leave in the end? In Jia Zhangke's film, it's even like a dream, and it's both fake and real. Like a rocket rising from the ground, it makes the surrounding reality even more absurd.
After Qiaoqiao was released from prison, she went south by boat and walked into the cabin. The camera shot out of her eyes and surrendered to the blurred cabin window. Before seeing Binbin, her future was at a loss, just as she appeared in the low-resolution surveillance video at the end of the film. , a blur.
Jia Zhangke's camera language is very poetic, and at the same time, his screenwriting skills are also top-notch. In the interview, he said that the main challenge of Jianghu is to express a complex interpersonal relationship. In fact, the performance of complex interpersonal relationships is a test of skill.
There is a scene in his movie "The World" ten years ago. Zhao Tao's ex-boyfriend Liang Zi from the countryside suddenly came to Beijing to find her. She took him to a small restaurant for dinner. Part-time job), she looked at his passport curiously, and now her boyfriend (park security guard) rushed to the restaurant quickly. This scene has been since "Dream of Red Mansions". The Chinese people's hometown and the part that is connected with the world must have certain Only after careful observation and experience can we understand that it is not something that a post-90s generation can shoot through learning.
In this scene, a few simple lines of dialogue express the cause and effect. First of all, Zhao Tao broke up with his ex-boyfriend because of the intervention of the man's mother. I think she was sad, left her homeland, and came to Beijing. After all the hardships, she finally stood her ground. So she came up and said: Your mother is right, after we broke up, you will be fine, and so will I. This sentence is full of confidence and ridicule to the man's mother. The man still has affection for her, so he glanced at her and said nothing. The look and the expression on his face were full of love, regret, weakness, and a little bit of self-esteem that a boy of this age should have.
Then Zhao Tao showed her boyfriend on the stage. He heard it before anyone could hear it, and greeted the diners and the boss in the restaurant. It seemed that he could hold on here. Finally, he turned to Zhao Tao and his ex-boyfriend's table, sat down and greeted his ex-boyfriend provocatively. The ex-boyfriend didn't say anything and looked at this person. It was the first time the two met, and they met on a narrow road, sitting in front of the girl they liked. As a girl, Zhao Tao's vanity is greatly satisfied at this moment, but in order to clarify, without waiting for her ex-boyfriend to speak, she said: He is going abroad. This sentence both relieves the siege and sets off my status (my ex-boyfriend is not bad either). The current boyfriend is not to be outdone: I have a car, I will drive you to the station; the ex-boyfriend only reacted at this time: No, no, I will take the international train. (International trains have to go to the station first, bro) In the end, he drove him to the station, and the three of them didn't say a word along the way.
When I watched Jia Zhangke's film in the early 2000s, it was similar to watching "A Dream of Red Mansions" when I was a teenager. It took many years to watch it again to understand the subtleties here. Jia Zhangke also saw the local underworld when he was young. When he went to the film school, he was an overage student (the film was adapted from the story of his two brothers when he was young), and with professional training, this technique naturally took shape. .
Jia Zhangke's narration is full of the wisdom of "the world is clear and the human feelings are refined" since "A Dream of Red Mansions", which can best represent Chinese culture. That's why he dared to shoot the "Jianghu" that he believed to represent complex interpersonal relationships.
Jia Zhangke can always connect the seemingly unrelated little things around us, expressing feelings to the philosophical level of human predicament, and he is the only one who has made popular golden songs (note: here are golden songs, referring to those popular songs that have passed) He used a superb director--I just don't know what to say about this admiration. Popular golden songs were originally vulgar, but Jia Zhangke can always turn stones into gold and turn them into elegant.
In "Platform", "Waiting Forever", "Lonely Waiting" and "Long Waiting" fit the mood of a group of young people in the play. In "Children of Jianghu", Qiaoqiao spent five years in prison for Binbin, and after being released from prison He didn't dare to face him, huddled in the room and let his current (money-related) girlfriend explain the fact that the situation had changed, Qiaoqiao, who was sad and lost, left angrily, wandering aimlessly in the dock town that was about to be relocated due to the Three Gorges Project, The band performing on the street sang "How Much Love Can Be Repeated":
How much love can be repeated
How many people are worth waiting for
. . . . . .
Destiny is so arranged, it always makes people helpless
It's been a good year or not
There's just one person missing
. . . . . .
When love has swept away
Do you still have the courage to love
. . . . . .
I really can't find a more harmonious expression than this. At that moment, I never felt that this irritating song was so good. Compared with the previous situation, it made people want to cry.
Movies are the art of making dreams, but Jia Zhangke has overcome all difficulties, set up scenes and make-up, and tried his best to bring us back from dreams to reality. Such directors are precious in today's China. Every actor in this play has performed very well, and the leading actors have made breakthroughs, so I won't go into details.
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