In "Miryang", the youngest son, who appeared very short, gave a speech. This scene brought the heroine and listened to his recordings twice in total. In this speech, the younger son "recited" an ideal: grow up quickly and serve the motherland. The paradox is that his teacher kidnapped his youngest son and killed him. This is reminiscent of the case of the slaughter of elementary school students in a certain place not long ago; the murderer was reported to be a person who likes children very much, and later committed the murder because of a lovelorn. This is reminiscent of after the Winter Games, a coach after his apprentice won the gold medal, scolded that he should not thank his parents first, but the country first. The distorted Confucian tradition of the East has formed nationalism and statism in modern times. We know that the independence and rise of South Korea is only a few decades old, and it is still in a "cold war situation" with the "communist" North Korea; the "New China" in mainland China is similar to South Korea, and it is in a "new China" with Taiwan's "New China". "One Country, Two Systems" state. In such a situation that "they are born from the same root, why is it too urgent to fight each other", the local government always regards itself as the true parent and the true God. When we read the works of scholars in the period of the Republic of China, such as Hu Shi, Lu Xun, Zou Taofen, Qian Mu, He Lin, etc., we will find that the issues they were thinking about are the issues we are still thinking about today. One hundred years later, we are back to square one. The "post-modern" advertised in the literary and art circles is nothing but the predecessor of the modern. Of course, artists are not thinkers or historians. They only put social reality on the stage and let readers see for themselves, without making any analysis and evaluation. They don't let the "big guys" speak, but let the little guys "just be in this mountain" speak. It is said that the director of "Miryang" once served as the Minister of Culture of South Korea; according to the analysis, such an information-rich film cannot be grasped by watchmen who "take into account both the government and the opposition", nor can it be imagined by Japanese artists who have not saved their lives. At the end of the film, the heroine attempted suicide, reminiscent of the suicide of South Korean President Roh Moo-hyun. It's really amazing, the artist who is known for his intuition, deduces the fate of the whole nation through small people.
Talking about suicide is still a taboo topic in China. Suicides by highly educated people, as well as “suicides” by government officials, are often heard these days. Artists don't talk about politics, so we don't see politicians and thinkers in art films. As Bei Dao said, politics is overt sex, sex is covert politics. And if we want to get a glimpse of the author's political perspective from the author's camera, I am afraid we can only look for it from the educational scene of the kindergarten.
Following the killer's kindergarten teacher and the heroine's piano teacher, let's see what we can find. We know from the male protagonist's words that the murderer also came to the countryside from the big city Busan, while the female protagonist came from the capital. At one of the most "intimate" gatherings between the heroine and the murderer's teacher, the heroine received a call saying that the hero asked her to see a real estate developer. This is also the only time in the film that the murderer teacher learned that the heroine wants to invest in real estate. And when the heroine left, the murderer teacher was reluctant to part, and the heroine asked: Is there anything else? There's so much to reminisce about this scene. Did the murderer teacher fall in love with her from the bottom of her heart? They are all people from big cities, and they are all people from the end of the world. Maybe the murderer teacher just wanted to tell the heroine about her inner loneliness, but the heroine didn't realize it, and deeply hurt the murderer teacher. They have so many similarities: they all descended from the big city to the countryside; from the perspective of the murderer’s daughter behind bars, the murderer is also single; they both brought a child; they all received systematic education and are now teachers ...and the heroine walked away indifferently, she was going to contact the real estate agent. And the following tear-off ripped to shreds all the heroine's vanity: she had no money. Women probably like to fantasize, and she wants to have a quiet home of her own in the countryside. No matter whether she has money or not, she has to fantasize on that land: it will come true anyway! The point is, she's too good at acting. Probably it was her superb acting skills and false practice that aroused the jealousy of the murderer teacher who was "the same as the world." Why doesn't he want to have a warm home: Why is the world so unfair? Others have falling happiness, but I only have falling loss? And more importantly, the object of his jealousy is a woman.
When it comes to the topic of women, we can compare the "Beautiful Legend of Sicily". Although the two films both feature women as the protagonists, their presentation techniques are quite different. "The Beautiful Legend of Sicily" uses the best artistic techniques to shape the heroine into a beautiful country; and the heroine in "Miryang" is difficult to compare except for the identity of the "young woman". But there are also religious shadows in both films. In "The Beautiful Legend of Sicily", after the heroine's husband "died in battle", the Catholic Church held a grand funeral for him (or her!), we can see a terrible scene: the heroine is "paraded to the public" ". In fact, there is a similar religious scene in "Miryang": after the death of her son, the heroine talks freely about "the pleasure of heaven" in front of her brothers and sisters. My biggest question is: Is this a confession of faith? Are there specific standards for confession of faith? Do formatted confessions of faith stifle humanity while revealing divinity?
Here, let's take a look at the murderer's daughter. We can see in the film that the murderer's daughter was considered a "problem teenager" at first. Before the murderer committed a crime, he seemed to strictly demand her according to "the moral education of the school" and not let her play with the "problem teenager". But such a "strict" teacher ended up in ruins: he went to jail and his daughter went to jail. In fact, China also faces the same problem: what kind of moral standards should teachers have? The moral issues of teachers raised by the media in the past few years are actually shown in this film in such a way. In this way, the author actually raises the question of three generations of ideology: the ideology of the heroine's parents' generation, the ideology of the heroine's generation, and the ideology of the heroine's children's generation. We know that Korea is deeply influenced by Confucianism, and in this film, we can get a glimpse of some clips, such as the heroine's marriage, and the scene when the heroine's son is cremated. But many places are distorted Confucianism, or, like the formatted church, formatted etiquette. After the heroine is scolded by the sad hero, (this is the only scolding, the hero loves her so much.) She walks sadly alone under the street lamp, hysterically accusing herself of the twists and turns of her childhood. From here, we can see that the heroine has actually been persecuted by rituals, and now she has entered the Christian mysteries again. In fact, the heroine's experience is the epitome of Korean society. In Asia, South Korea is probably one of the most prosperous countries for Christianity. So, under the dispute between ethics and Christianity, where will the next generation go? The heroine's son was killed by her own teacher, and the problem of the kindergarten teacher's daughter has become a juvenile problem; if the heroine and the hero have another child, what will happen?
In this alienated society, Christianity has indeed injected vitality into front-line coordination. For example, the two church members who preached to the heroine are doctors themselves. There are many members of the church who have made great achievements in biology, such as Chen Weizhong and Gideon. They have studied biology and found that many problems cannot be solved by the healing of the body, and more of them need the healing of the soul. But in the context of eastern culture, the crux of the soul problem is different from that in the west. In the end, the priest is seduced by the heroine and commits adultery with her. The meaning contained in this can only be explained by the author. On an earthly level, pastors themselves are as weak as the rest of us. There is a saying in China: the master leads the door, and the practice is within oneself. On the spiritual level, the heroine just went to the hall, but failed to enter the room; she just discovered God, but in communication with God, she still needs a long practice. The heroine's painful indictment is heartbreaking: I haven't forgiven him, how can God forgive him? Before the heroine's visit, the pastor said something meaningful to her: Forgiveness is not an easy task. Before the heroine announced her visit, she saw the murderer's daughter being bullied by others on the road, she hesitated for a long time but walked away. At this time, she almost hit a passerby, and passers-by scolded her: If you kill someone, is forgiveness useful? So, can we say: In some matters, man has no right to forgive, but repents to God? These two new believers pose a very difficult theological question for theologians.
God forgives a sinner without consulting anyone. Will God consult with a Christian? In the film, we can see that the heroine does find joy in Christ, and we see that the mission of the church is carried out by creating an atmosphere of joy. This reminds me of the Spring Festival Gala. The Spring Festival Gala was really good in the past, and it truly reflected the reality of this society. The masses saw their joys and sorrows in the Spring Festival Gala. In recent years, it has been quite controversial. I think the current Spring Festival Gala has magnified the joy of a few people and deleted the misery of the majority. In the film, the heroine is very enthusiastic about mission, and enthusiastically converts the murderer. Is this wrong? At this time, the heroine regards the murderer as a Gentile and wants to convert him as a Christian; strangely, God has incorporated the murderer into Christianity. Was the murderer's claim wrong? We can see here that, in fact, the murderer also promoted his divinity, while ignoring human nature. The murderer claimed that God had forgiven him, but the murderer did not ask the heroine to forgive him. I think this solves a big problem: "What can I do if I believe in Christ?" In fact, everyone should have a spontaneous worship of God, but with the increase of experience, I found that the world is always controlled by the devil , that God is dead. When a secular religion awakens its sleeping soul, it finds sustenance in the church, but ignores God's careful arrangements for the world outside the church.
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