Feng Wanyu was eagerly waiting for her Lu Yanshi, but she did not recognize Lu Yanshi, who was waiting beside her for Lu Yanshi. Lu Yanshi had already returned, just like Zhang Yimou had never left. Therefore, the audience who are unwilling to accept the current Zhang Yimou as "Zhang Yimou" is just like Lu Yanshi who is unwilling to accept the return is "Lu Yanshi" Wan Yu - what we are waiting for is a "master" who does not exist, a non-existent "master" Times that will repeat and a "masterpiece" that can only be hoped for forever.
Not only Zhang Yimou who filmed "Red Sorghum" will not return, but Zhang Yimou who filmed "Alive", Zhang Yimou who filmed "The Lawsuit of Qiu Ju", and even Zhang Yimou who filmed "Hero" and "House of Flying Daggers" will not "return". When this old man from Shaanxi began to adapt Yan Geling's novels and appointed him as the screenwriter, his films had already embarked on another road of no return. The films written by Yan Geling, from "Mei Lanfang" to "The Thirteen Hairpins of Jinling", are really not kitsch, and the worst is the erotic "Dangerous Relationship", which I can't wait to make into an adult film. Zhang Yimou deleted most of the content of Yan Geling's novel "Lu Yanshi", which is a wise move, otherwise the effect of the film will be even more fake than the current fake. Playing down the "Cultural Revolution" background is not only to avoid sensitive issues, but also to allow the story to gain a broader generality - after a traumatic event in any country in any era, such returnees may be produced; Those who are forced to leave may encounter a similar failure to return. But after he got rid of Zhang Weiping's influence, he tried his best under the condition of "freedom and independence", and what he brought was such a delicious dish, which revealed his true artistic level and pursuit. "Master" "Return"? That's it!
Maybe we should learn to accept such a Zhang Yimou, such a "master" who is not a master. As we have accepted "such" Chen Kaige and "such" Feng Xiaogang. A person who can even make "Codename Jaguar" should not be surprised that other films are bad. Maybe we will start to miss Zhang Yimou in the period of Zhang Weiping, the master craftsman who stirred the market with splashes of ink and colors. The ridiculously fake propaganda and gimmicks of the "New Picture" era are not up to the mark. At least Zhang Weiping has provided more discussion points for the people's daily life. And now Zhang Yimou has not only lost his profound ability, but now even "interesting" has been lost. Zhang Yimou tried to find his former self, but he fell into a Lu Yanshi-style embarrassing situation - waiting for another "self" to return.
Although "Return" is artistically mediocre, it is not necessarily unworthy of attention. Like Zhang Yimou's other works, good and bad, it is currently not as complex as it should be. After so many scars were carved into history, thousands of Feng Wanyu were born in the cracks of the sores. They were "unwilling" to admit that the Lu Yanshi in front of them was Lu Yanshi, and they had been waiting for the return of another Lu Yanshi. Different patients are waiting for different returnees. Some people miss the 1980s, some miss the 1950s, some miss the Republic of China, some miss Confucius and Mencius... They all stubbornly refuse to step on the ground under their feet, hoping that the "correct" past will be in their hearts. Reappearing in the world, but I don't know, a real "Lu Yanshi" is standing in front of me - this is the anxiety disorder of this era, the paranoia of this era.
If waiting is a phantom that doesn't exist, is there any point in waiting? Faced with this problem, we can try a more radical interpretation: Feng Wanyu's illness was for Lu Yanshi to see, in order to make Lu Yanshi return to Lu Yanshi, in order to heal the deep part of his soul. stubborn illness. If I don't admit that you are you, maybe it's not all my problem, maybe you really aren't you anymore! And what you should do is find yourself.
At the end of the film, Lu Yanshi stood beside Feng Wanyu, holding up a huge cardboard with his name written on it, and greeted the man his lover imagined at the exit. The door was closed, like an iron cage. We can't go out, they can't come back.
View more about Coming Home reviews
