The symbolism of Zhang Yimou’s films that we are familiar with suddenly disappears, all the renderings are gone, and the long-established aesthetic taste is weakened. The director of "Return" is the defamiliar Zhang Yimou. He made a subtraction for himself and carried out a difficult self-transformation. Of course, the kind of realistic feelings that belonged to filmmakers in the 1980s are still strong. It can be seen that this is the creation of Zhang Yimou, who is in a predicament, looking back at his inner creation as much as possible.
It's an almost impossible movie. As far as the story structure of the novel "Lu Criminal Yanshi" is concerned, there are many scenes in it that cannot be realized. Every novel reader can foresee that "The Return" is a difficult creation, and it has to complete the challenge in an extremely narrow space. Facing a story with sensitive subject matter and minefields everywhere, Zhang Yimou and his team completed the "possible" in the "impossible".
"Return" does not take the path and starts from the end of the novel. Fiction becomes prehistory, a hidden iceberg. It only starts with Lu Yanshi's "return". Home is no longer home. It is almost impossible for Lu Yanshi to rebuild his complete life as a human being. Although it is impossible, he will do his best to live out his dignified emotional life. Chen Daoming is lucky that this excellent actor finally met a character so close to his ethos on the big screen. His performance is restrained and restrained. Chen Daoming endows Lu Yanshi with a magical attraction: Lu Yanshi has feelings, yearns for kindness, and never bends; in the face of difficulties, this scholar who has been beaten many times does not cry, Don't give up, don't beg for mercy. Chen Daoming's understanding of the human heart makes the character Lu Yanshi believable, respectable and alive.
And his wife, Feng Wanyu, a middle school teacher. This role is extremely challenging for the actor. Because this character is not only going through hardships, but also facing aging and amnesia. Her encounter is the engine of the inner logic of the entire film. Apart from Gong Li, there is no other Chinese actress who can take the lead. Hesitation, unease, forbearance, and deep and selfless love for her husband are all in the half-teared eyes of this woman at the beginning of the film. In this silent, modest, and stubborn woman, the times, the reality, others, and her daughter are all hurts and sharp knives in her heart. We can't see the wound on this figure, nor hear her cry. However, the suffering with nowhere to complain far outweighs the direct presentation of the blood. Gong Li contributes a living, heart-wrenching, and respectable female figure with her performance.
Just these two ordinary people. With densely packed paper, she waited in all weather to fight indomitably with amnesia, and she also fought with fate like a monster. Once, again, countless times, in their lifetimes. How could Lu Yanshi not know that it was a ridiculous wait? He is as clear as a mirror. However, know that it cannot be done. He's going, he's here, he's going to stand with her. Why is it so, why is it so? He is human, he has heart, affection, and persistence. Even if the cold iron door is closed forever, stand and wait. The scene of the couple standing is moving and keeps us in awe of man and the species. The human heart is so fragile and vulnerable; but the human heart is so strong that it can fight for its life and resist the invasion of the memory black hole. Humans are human because we have memories. The memory of everything is not blocked by a disease, nor is it stopped abruptly after turning over the calendar.
"Return" is destined to be a movie with multiple interpretations. Some people see love, some people see marriage, some people see trust, some people see memory, and some people see the cruelty of fate. This is entirely based on the age of the audience, based on the audience's awareness of the vicissitudes of life. There are many scenes that are unforgettable, but since the film is only released in May, we can't do more analysis so as not to affect readers' viewing. So, let’s go back to the two characters. You have to admit that Gong Li and Chen Daoming are artists. Their performances are mature and full, and they accurately grasp the subtleties of people’s emotional levels. Their interpretation of people’s hearts and complex emotions is completely Bring the audience into the situation. No other two actors can be as tacitly matched as they are. Their accurate interpretation of the characters makes the audience burst into tears during the viewing process. A back view, a spoon, a song of "Fishering Light", and countless pieces of writing paper all make people feel heartbroken and sad - the relationship between these two characters It represents a kind of resistance, a kind of thinking, a kind of obsession with hopelessness. There is no doubt that Feng Wanyu and Lu Yanshi will become milestone roles in the acting careers of these two actors. "The Return" is heartwarming, in part based on the right choice of two excellent actors whose textured performances prop up the film.
Of course, the most important thing is the director, because the final use of all characters, shots, music is up to him. In "Return", the symbols of Zhang Yimou's films that we are familiar with suddenly disappear, and all the renderings are gone. The long-established aesthetic taste has weakened. The director of "Return" is the defamiliar Zhang Yimou. He made a subtraction for himself and carried out a difficult self-transformation. In fact, several of the film's important story twists evoke a sense of self-reliance and determination by the director far beyond our imaginations. Of course, the kind of realistic feelings that belonged to filmmakers in the 1980s are still strong. It can be seen that this is the creation of Zhang Yimou, who is in a predicament, looking back at his inner creation as much as possible.
"Return" will become Zhang Yimou's other masterpiece after "Alive". However, in comparison, Zhang Yimou's understanding of human nature and the complexity of human emotions is deeper than before. What is especially precious is that in the film narrative of "Return", a contemplative, daring and unrepentant soul, a human soul, begins to be contained. "Return" respects people, respects people's emotions, and is close to the real people's hearts. "Return" reminds people of the important role of screenwriters and Zou Jingzhi's understanding of the world. The human heart is a mirror with refracting power in the face of history and reality, and the human heart is the sensor and probe of our spiritual world. In terms of the important turning points of the story and the emotional handling of the characters, "Return" did not fail. It tried its best to probe and approach the deepest part of people's hearts and human nature, and it did not disappoint. Zou Jingzhi's efforts were indispensable.
The name of the movie "Return" is very meaningful. In the play, "Return" is about the return of Lu Yanshi, calling Feng Wanyu's memory to return; outside the play, "Return" is the joint return of director Zhang Yimou and a group of outstanding filmmakers. Come back, rebuild. ——"Return" will make the audience re-understand Chen Daoming, Gong Li, Zhang Yimou, and the artistic pursuit of Chinese films.
It must be mentioned that film is always an art of regret. Frankly speaking, "The Return" also has flaws and shortcomings that it is destined to make up for. Likely, it won't do a box-office miracle. However, as long as anyone who has watched "Return" will be determined, will be quiet, and will understand that this is destined to be a movie that can be kept, a movie that does not need to consider temporary gains and losses. Compared with people’s hearts, those things related to box office numbers are fleeting. Only thoughts related to people’s hearts will precipitate, crystallize, and become our treasures. There is nothing more exciting than the artistic creation that returns to the heart; nothing is more worthy of respect than the exploration of the "possible" in the "impossible".
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