"Ju Dou" is a tragic subject, and it is also a banned film in China - incest, sexual abuse, father murder... Every point challenges the bottom line of human nature, family affection is distorted, love is lost, true feelings are also stifled, and there is oppression in the film Where there is resistance, there are dark tones, and where there is resistance, there is bright backlighting. Judou is a victim of feudal shackles. She was sold to the impotent Yang Jinshan as his wife. She was tortured by his whipping every night. The sexual abuse brought her endless harm. When she heard the pig's howling, she would compare herself Her fate felt like the helpless animal that could not escape the pain of being strangled; when she found Yang Tianqing peeping at her bathing, she would rather let him see her naked body covered in bruises and bruises, hoping that Yang Tianqing would give her sympathy and help; They were able to escape the painful fate for a short time, but the shackles always imprisoned them. In the end, Yang Qingtian, the biological son of the feudal product, killed him, and Judou's fire of despair ignited the dyehouse. Enclosed old buildings, as if you can smell the smell of mold and decay through the screen. "Old rules and bad habits" are shown in the film "Judou" to make people sigh: Patriarchy is paramount, women's status is low; funeral ceremonies are cumbersome, the deceased oppress the living; the idea of marrying a chicken follows the chicken is firm, and too much emphasis is placed on inheriting the lineage. In 1989, Japanese films approached Zhang Yimou. It may also be that Zhang Yimou's artistic aesthetics of films attracted Japanese films. Zhang Yimou and the Japanese cooperated. "Judou" does have the style of Japanese movies, the wood house, the simple texture, the "peeping" perspective, the bondage plot, the strong sense of ritual... The techniques are delicate and the feelings are slowly sublimated. This movie is very real, and we are just entering In that feudal era, they watched their lives with their contemporaries. In the film, the stairs in the house are like an immovable ethic of seniority, orderly section by section. In the evening, Yang Qingtian heard his aunt's painful moaning. He had already learned that his aunt was being abused. He couldn't bear by the stairs to go upstairs to rescue Judou, because he had no qualifications or courage, and the ethics of generation restricted him. At the end of the stairs was Judou. Where Dou suffers, the axe in his hand can only chop down the stairs. However, to truly save Ju Dou, destroying the feudal atmosphere and leaving the place of suffering are the fundamentals. Simply venting anger cannot solve any problems. In the film, the red dyed cloth is like a human desire. In the scene where Judou successfully seduces Yang Tianqing and the two copulate by the dyeing pond, the roller turns rapidly, and the dyed cloth falls from the beam into the pond. Like the breath and passion of the two, it was out of control. Their crystallization is a product of feudalism, a symbol of resentment, not only killed Yang Jinshan unintentionally, but also killed Yang Tianqing deliberately, and the tragedy ended. The end of tragedies is tragedy. Yang Jinshan's bad behavior is outrageous. After all, he suffers the consequences. If he treats Judou with human nature, he will not end up in such a sad end. Yang Tianqing is the life-saving grass of Judou, but incest is not tolerated by heaven, and he is finally killed by his own son in the dyeing pond. Judou is a prisoner in the cage of fate, breaking the wings of hope and falling into hell on earth.
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