During the epidemic, I accidentally watched a rainy movie in New York, and then went back to the wet Wuhan. Although it was not explicitly stated in the movie, the looming Yellow Crane Tower on the map, the mouth of the Han River in the conversation, the Donghu Lake accompanying the swimmer, and the stubborn Wuhan dialect, all of a sudden put me in the place that was on the news every day. On air, but never been to a city. Hot dry noodles, the Yangtze River Bridge, the recurring bridgehead hotels, the streets full of motorcycles, and the rainy South China, Wuhan under the lens of Diao Yinan has the same characteristics as his Northeast. The magical Liao Fan became the Northeast policeman and then became the South. The policeman did not violate the peace. Behind the two chisel-like decree lines was his face, both righteous and evil. In contrast, Hu Ge and Gui Lunmei played a little bit. Hu Ge wants to go to the big screen, and his face and muscles are also suitable. He has the background color of film noir in old Hollywood, but compared to Liao Fan's natural literary face, he is still too beautiful; Gui Lunmei plays the role of The soil is definitely working hard, but it seems that it is still the soil of Taiwanese girls, not the soil of the southern part of our mainland, such as Tan Zhuo and Hao Lei. She may still be more suitable for Taiwanese literary films.
Sadly, this is not a well told story. The director tried to create an atmosphere of confusion and chaos with the interlacing of shots from different time and space, but he lost himself in the story. I understand that the director wants to show clever intentions - but there are many ways to show it, the black "Two Smoking Guns" is one, the science "Dunkirk" is one, and the literary "Waking life" is also A sort of. But no matter which method, you can't lose the logic while talking. Why did Gui Lunmei fall in love with Hu Ge? Why do they mix in square dancing so well (just to create an atmosphere)? The two were swinging back and forth by the lake and then why didn't they hurry up and report to the police? The lack of motivation makes it impossible for the story to stand up. It seems to be imaginary. It makes people feel that the protagonists are all created mirages, not down-to-earth at all. Killed by the completely single-line narrative "Parasite".
Sometimes I really don't know if there is a problem with the logic of the Chinese director, or the screenwriter can't write stories, or the well-written stories can't be made. The recently popular "Manslaughter" is simple, straightforward and interesting. It is told from beginning to end without confusing time and space or clues. It is also a good story that people can watch with gusto, but it turned out to be a remake of India. There are also many directors who have this kind of problem, such as Lou Ye, who can make every scene so beautiful, but cannot tell a story together (but I like Lou Ye’s movies, they are completely paranoid of literary youth); for example Cao Baoping has a beautiful beginning, but in the middle it always makes people wonder, why is the protagonist like this? Few films have a solid story like Heart Labyrinth, let alone top-notch films like The Thief or Three Billboards.
However, there are scenes in southern China that I miss dearly. The last time I went back to my hometown in the South was five years ago, and the last time I went to the South was last year when the peace and prosperity were peaceful. The green, humid air on the high-speed trains, the fly restaurants with red signboards without aesthetics, the dilapidated houses under the neon signs, the malatang and mosquito repellent toilet water on the stalls... , in "Southern Station", and even in "Yangtze River Map". Where is there any heroic city, I just miss the fireworks of the common people.
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