White walls and black tiles, bluestone alleys, misty rain Jiangnan, in the Jiangnan town in the 1920s, the changes of the times and the chaos of war did not bring any impact to the town. Jin Shan, the owner of the dyeing workshop, who is desperate for a son, buys Xuxian Judou, who is more than 30 years younger than him, but the young and beautiful "aunt" ignites the suppressed desire of his nephew, Tian Qing, who is nearly forty years old. Tian Qing can only peep through the small holes in the wall when "Auntie" is bathing, and finally, under the provocation of "Auntie", embark on the step of pursuing freedom, but unfortunately in any case, what they can never escape is the influence of society And the devastation of feudal ideology, in the end, only a fire can burn the self. Judou made Tianqing kill Jinshan many times, and he also fantasized about escaping and embarking on a free life together, but how could a man who does not even have the desire and courage to pursue women abandon his life and take his lover away to another country? In fact, at the moment when he was slashing towards the handrail with the axe, his masculine consciousness existed. If he acted impulsively, the outcome might be changed, but when he heard Jin Shan's questioning, the long-standing fear in his heart resurfaced. Awakened again, and immediately fell down. In the final analysis, as a prime-aged Tianqing, it is precisely because of long-term repression, years of feudal shackles and disapproval of self-worth that he has been unable to break through the mundane world. This may be the fate rooted deep in the heart. And Judou, although for himself, in order to break through the shackles of both body and spirit, he did not hesitate to let go of himself and took the initiative to walk into the door of Tianqing, but in this era when the status of women is extremely low, how can he change himself? Bureau. Just as the third wife in "The Big Red Lantern" is pushed to the roof, and the protagonist Song Lian can only intrigue with women in a small courtyard, women are powerless in this patriarchal society. Therefore, no matter how Judou struggled and resisted, the final outcome was tragic and tearful. This is still the fate that is rooted in the entire social class, and there is no escape and no escape. In the film, when Zhang Yimou uses a long shot to show a sense of tight compression of the white walls and black tiles of the town in the south of the Yangtze River, it does not also represent the restraint of feudal etiquette and the suppression of human desires. After Jinshan died, Tianbai sat on the coffin and represented the continuation of feudal thought, while those who yearned for freedom and pursued humanity could only crawl on the ground and let them trample on them. In the 1990s, Zhang Yimou used metaphors to express his dissatisfaction and helplessness with the suppression of human nature by feudal ideology for thousands of years. After nearly 30 years, the changes of the times have not changed the thoughts and concepts of people in China too much. Perhaps the roots of thousands of years are too deep, too broad, and too large. The most natural, pure and touching sweet love and happy life that people pursue are still shackled by new-style shackles and chains. Imprisoned by the article. Under the current system and mechanism, people can only move forward in accordance with the established rules and ethics, suppress their innermost thoughts and impulses, and survive under the shackles of etiquette. And once they break through the etiquette, maybe like Heiwa and Tian Xiaoe in "White Deer Plain", they still can't escape the arrangement of fate, and they die miserably in the end. Sometimes, it is precisely because the society cannot be changed and the situation cannot be controlled, it can only be the fish on the chopping board - slaughtered by others.
View more about Ju Dou reviews
