It was not until the end of the story that the movie told the audience that the millet land was an orphan, and he was picked up in the millet field before he survived and was raised as an adult, so it was named millet land. The name is like a synonym for Anonymous, much like a symbol of Chinese peasants. This is not only because it itself is closely related to the geographical features of agriculture, but because it is such a non-specific word, like any name like Ergouzi that symbolizes the traditional Chinese underclass. Importantly, Anonymous means a void represented by an independent existence. On the surface it is filled with the three words Anonymous, but in fact it is empty. The only certainty about it is the fact that we know nothing about the once life behind it. Anonymous, therefore, means coming and going without a trace, a void that has been hollowed out for context and meaning. In this way, we can see that the entire film is actually insisting on the fact that Gu Zidi does not want to be anonymous, either to himself or to his forty-seven brothers who died in battle. He tried to change the state of being buried, trying to eliminate the utter nothingness that was constantly overwhelmed. Although death had taken the breath of life out of existence, he clearly wished not to push his brethren into the void of nameless abyss. He was digging wildly in the places where he had fought, trying to dig out the evidence that those lives had lived. With his flesh and blood like an archaeologist, he tenaciously tries to lift the curtains of time and history. All he wanted was the meaning that had to be affirmed because of what was once alive. This spirit of millet land touched me at some point. I see this as a bit of vinegar in the maelstrom of history. That is to say, it gave this movie a stunt of war scenes a little flavor, thus distanced itself from the human absence of mainstream war narratives in Chinese films. Our war movies have always been big scenes of human sea tactics. The momentum of the people is fully revealed, but the only thing that is absent is the people. People are submerged by history and destroyed by historical inevitability, leaving not even a speck of dust. Heroes must be dehumanized, the word "I" must be completely denied, the individual characteristics of gender, age, marriage, and human relations must be revolutionaryly eliminated, and anything that can be reminiscent of individual feelings must be replaced in the name of history and the collective. and its conception of human nature, otherwise he would not be able to resolutely allow himself to explode from existence to nothingness for the benefit of nation, state, class and party. As for the enemy, there is no human nature at all, because our hatred of him has made him no longer human. He can only be a reactionary, a traitor, a traitor, and no longer has any to the possibility of being human. As the soldier in "Assembly" said: I killed the reactionaries. What he meant was: that's not a person, so there's nothing to regret. But unfortunately, Gu Zidi's words and deeds are at most only a quarter of an attempt to restore a little bit of humanity in the whirlpool of history. The remaining three-quarters, represented by him, were impossible for the Chinese living in the revolutionary twentieth century. His rectification activities are still completed within the logical framework established throughout the second half of the twentieth century. The sanctity and compulsion of this frame is clearly still invulnerable in this film with only one of the four human beings. And probably enhanced by that little tearjerker effect. This quarter, in the call to the party and the state and its response, partially affirms what it means for people to live and die. Apparently, Gu Zidi was not obsessed with the sacred death, and he was always in pain for the deaths of his brothers. But after death became a fact, Gu Zidi's affirmation of human nature can only be based on the fact that it is impossible for people to disappear for no reason. He must have a place. This title, in the spiritual world of Guzidi, is a martyr who died heroically for the liberation of the people. He even felt uneasy and regretful that his brother did not get this title, and even wanted to fill this spiritual chasm with his own death, and finally led him to restore this existence by digging up the bones that had long since fallen into ruins. sense of meaning. Although in the movie, for the more humble farmers, the title is important only because it can be divided into two load of grain. But millet land is clearly serious. With a paranoid attitude and words and deeds, he insisted on the clue of humanity supported by this grand faith to the end, until the master who had wronged them gave them a warm embrace again. Therefore, it can be said that the human nature of millet land is a semi-finished product. Its tenacious steps came to an abrupt end when it encountered the warm embrace of the faceless country and people. Gu Zidi's sincerity revealed that Feng Xiaogang was a smart person. Not only at the box office, but also politically, there was no misstep. The grand scenes and powerful audio-visual effects of the war must serve the history of the people, not the history of the people. Here, man can only be unfinished, like a corpse smashed to death by the fire of war, like those tombstones of nameless people: it is certain that it is related to people, but it is obviously not a person with a full life. . It can only be vague, ambiguous, torn between anonymity. Therefore, I can only give a quarter of applause to the story of the millet land told by Feng Xiaogang. Those three-quarters must be reserved for the future, for the day when man is fully grown in this ancient country.
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