Just like the dull background of its earthy yellow tone, the film is depressing and struggling everywhere, and because of the incestuous story of his nephew and aunt, it is filled with love and will not end well. When comparing "Red Sorghum" and "Judou", Zhang Yimou also said: "If "Red Sorghum" is written about publicity, then Judou is about depression; if "Red Sorghum" shows no rules and no laws , then "Ju Dou" wrote that the rules drove people to the corner, cause death. This film presents us with a tragedy in the world. The cause of the tragedy is inseparable from cowardice. The origin of cowardice is the shackles of feudal ethics. In the final analysis, it is the malpractice of the times. Yang Tianqing, the nephew of Yang Tianqing, tortured two wives to death and then bought back Judou, exploited her body, destroyed her will, autocratic and cruel. It was in this pedantic and inhumane feudal social background and living environment, buried The suppressed desire for sex and voyeurism in the bottom of my heart, once given the opportunity and tempted, will be like a volcanic eruption. Unable to break free from the invisible web woven by feudal morality and ethics, it is destined to live in a gloomy and dark crevice under the intertwining of fear and cowardice, and live a sneaky life. This crevice is like suffocating Tianqing and Judou. In the cellar, even though there was a short-lived joy in front of him, after this short-lived repressed joy, he was faced with even greater embarrassment, suffocation and even death. Because the other person is the aunt and nephew who committed adultery and moral corruption. Therefore, the two The product of fornication, Tianbai, became another victim of feudal poison in ancient China's patriarchal environment that destroyed people's will. Under the gossip of people around and the ridicule of children, Tianbai stayed in place, spurned by others and recruited. People are not ashamed. So the distortion of Tianbai's character is not surprising. He does not have any childish nature or father-son warmth. However, what is sad is that he has been infected by the feudal legacy before he is an adult, and he has lost his primitive humanity. By the pool, When Jinshan, who was sitting in a wooden barrel, was trying to help his "son" dye the foxtail with difficulty, he accidentally fell into the pool. Looking at the man he called "Father" struggling in the water, the young Tianbai There was no fear or call for help, just stood and watched silently, surly and indifferent. It was also by the pool, after Tianbai carried his biological father out of the cellar, he threw it into the pool without hesitation, looking at the same water. The struggling biological father still had the same indifference and sternness on his face, and even raised the wooden stick in his hand expressionlessly, ignoring the hysterical cry of his mother behind him. Such a deformed family has destroyed people's will and cut off a family. The last possibility for children to grow up normally. The film is thought-provoking in the sense of anti-feudalism, and its inherent tension and dramatic conflict are under the delicate use of camera language and color, like dense raindrops falling on every frame. . In a small town in a remote mountainous area of China in the 1920s, following Yang Jinshan at the beginning, what appeared in the picture were white walls and black and gray tiles, and everything around was gray and cold. , the blurred tone conveys the depression in silence. The main background of the story is a small dyeing workshop. Large pieces of dyed cloth in red, orange, yellow and other colors and dyeing pools of different colors frequently appear under the camera, among which red is the main color. Judou and Tianqing were struggling in the dyeing workshop. With their movements, the pin of the dyeing machine was kicked down, and the camera turned sharply to the red dyed cloth that fell like a waterfall. This ink-splashing outpouring is the turmoil of life, the liberating sexuality, the throbbing impact, and the symbol of life and passion. It is also here that the feudal patriarchal forces are touched, which will inevitably cause commotion and punishment. When Tianbai killed his biological father, Yang Tianqing, the blood-red dyed pool seemed to have the power to burn everything, giving people a scalding burning sensation. This heavy extravagance is tragic, tragic, and completely destroyed. At the end of the film, Judou lit the dyed cloth hanging high, and thick yellow flames covered the screen. This fire is a concentrated outbreak of contradictions, and it is also the awakening of Judou women's self-consciousness and a resolute struggle against feudal ethics. However, she burned the dye house and burned her life, but human nature was forever besieged by the "big dye house" and could not be stretched.
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