Four years of college, starting with Zhang Yimou and ending with Zhang Yimou. Four years ago, we cried a lot while watching "Love in the Hawthorn Tree", and we gave it 5 stars with snot and tears. Four years later, we watched "The Return," and we shed two tears halfway through, discussing where to go for lunch and what to eat.
When I first listened to the film "Return", my first reaction was Lao Mouzi's return. This return does not mean that he re-directed after "The Thirteen Hairpins of Jinling", but Zhang Yimou after experiencing all kinds of loss a kind of precipitation and expression.
Unfortunately, I misinterpreted it.
If Zhang Yimou's works so far are roughly divided into three stages, from which we can roughly interpret the changes in Zhang's thinking or focus. It can be roughly divided as follows:
The representative works of the first stage (1987-1999): Ju Dou, the red lanterns are hanging high, Qiu Ju is in a lawsuit, alive, and none of them can be missing, my father and mother.
At this stage, Zhang's focus is also the focus of the fifth generation of directors, carrying the historical task of this generation - thinking about the past and interrogating the present. The works of this period are the reason why Zhang can be famous in the history of Chinese film. Zhang Yimou at this time has ingenuity and craftsmanship. The reason why the works can be successful, I think it is because these works are rooted in the land that he is familiar with, and the familiar life grows in this land and has roots.
Representative works of the second stage (2002-2009): Heroes, Golden Armor in the City, Surprise with Three Shots, and the Opening Ceremony of the Olympic Games.
Personally, I think Zhang at this stage has the mentality of a "nouveau riche", crazy big-budget productions, pursuing grand visual spectacles, and blindly transforming into commercialization, a gesture of "not bad money". The much-maligned "group gymnastics aesthetics" was also born at this time, as magasa said, "every actor... his function is to act as a pixel, presenting a color with the people around him".
The representative works of the third stage (2010-2014): The Love of the Hawthorn Tree, The Thirteen Hairpins of Jinling, The Return.
At this stage, Zhang began to settle down, but this kind of precipitation is not a return, but a transformation after confusion, focusing on the most simple emotions between people.
Pull away, come back. Tell me how the film made me feel.
About the trailer --
I didn't have any special expectations before. After watching the 85s trailer before, I felt that the story was very calm. Unlike the usual trailers, all kinds of dramatic conflicts could not wait to be packed in just a few seconds (please refer to " "Little Times" trailer), when the audience was fooled by the trailer and went to the theater to watch it, they couldn't wait to jump up and curse (please refer to the "Little Times" feature film). One more thing, the theme song sung by Wu Qingfeng, which was exposed later, was dumped by Han Lei. I don't know a few streets. Can't afford this heaviness.
Regarding
4K--the 4K that was promoted before, after watching a few stills, I deeply felt that the picture was very delicate, so I paid great attention to the color and lighting of the picture, but I could not fully appreciate the charm of 4K during the movie screening. , probably because the frame of the film's overall story limits its color performance (in the years after the Cultural Revolution and the Cultural Revolution, and most of the show was in autumn and winter, Zhang Yimou also changed his usual style of red and green). What impressed me the most was the part of Lu Yanshi playing the piano and Feng Wanyu walking up the stairs step by step. The warm light came from behind, and a holy light enveloped her. The charm of 4K really showed. Tears.
Then there is the part when the cadre played by Guo Tao is talking to Feng Wanyu and Dandan. The lighting color is very well handled. In the same room, the light on Feng Wanyu's face is always soft and warm yellow, while Dandan's face is always soft and warm. The one on the top was glowing green, and the reflected Dandan had a feeling of livid face, correspondingly Feng Wanyu hesitated and thought, while Dandan said "resolutely draw a clear line". Laomouzi's use of lighting and color is quite sophisticated.
About a few tears --
there are two that hit my tears, one is mentioned above, and the other appears at the first peak of the film, which is also a turning point, that is, the train station section. The four clues (Lu Yanshi waiting for Feng Wanyu, the police arresting Lu Yanshi, Feng Wanyu looking for Lu Yanshi, Dandan chasing Feng Wanyu) were advanced at the same time, the editing was neat and fast, and the emotions that had been brewing were finally captured by the two of them. Exploded when separated.
What I regret most is that at the end of the movie, the place that was supposed to be the climax was lackluster. The stretched time in the front was too long, and everything that should have been said was said, and what was shown later could not touch the tears of the audience. After Lu Yanshi came back, a lot of writing was showing Feng Wanyu going to the station to pick up the Lu Yanshi in her mind, so everyone would be able to resist again. As a result, I saw that it was not "I wanted to cry but couldn't cry", but "I couldn't cry at all", so I saw the theater lights turned on and everyone quickly got up and left (it turned out that everyone had already packed up and prepared when they were watching the movie. You can leave at any time, right = = ), without the slightest nostalgia, or even after watching the movie, you need to take a moment of hesitation from the emotions of the movie. Needless to say about the acting skills
of several actors - Gong Li and Chen Daoming, and newcomer Zhang Huiwen will not comment. After all, I don't know much about actors' acting skills.
I just want to mention that as soon as Yan Ni came out, I thought of Tong Xiangyu from "Wulin Gaiden", when Zhang Jiayi came out, I always thought of the old king of "Thirty-Three Days of Broken Love", and as soon as Guo Tao came out, I thought of "Where Are We Going Dad?" I was so impressed by the "comedian" that I always wanted to laugh and dance. Just like the appearance of Zhao Benshan Xiaoshenyang in "The Grand Master" gave me the same feeling.
About the story structure and emotions of the film --
Many people talk about how bold Zhang Yimou is to make films about the Cultural Revolution, but I don't think so. In retrospect, he did not clearly express how the Cultural Revolution destroyed the life of a family and an intellectual. In other words, the story can be abstracted into a series of events brought about by a man returning home after more than 20 years away. Zhang slyly changed it a bit. He just framed the story in the period of the Cultural Revolution, but he did not express the real cruelty of the Cultural Revolution in a positive way. Except for the costumes of the characters, the Red Detachment of Women, and the chorus "Sailing the Sea Depends on the Helmsman" after the performance, it was a bit of a To put it too far, this film can even be called a scene film, because the Cultural Revolution is an introduction to this film, and it is only an introduction. Except that Lu Yanshi was taken away by the Cultural Revolution, the whole film has nothing to do with the Cultural Revolution. contact.
The relationship between the characters, this movie is based on Yan Geling's novel "Lu Yanshi", and it is said that it only intercepted the end of the novel and used a knife. Therefore, the film is not full of emotions, which is why it is not easy to be moved by the relationship between Lu Yanshi and Feng Wanyu. What the film lacks is the shared life and memories of the two people. There is no foreshadowing of the previous story. It is difficult to empathize with how deep the relationship between the two people is. It is like I told you that this book is very beautiful, especially beautiful, and you are too. I can only have a good-looking superficial impression of this book, but I don't know what it is, and I can't resonate with it. It's not that it's not good to shoot like this, and the two of them can't support the heavy feelings that have been baptized over the years. I thought it would be nice if we could flash back the common memories of the two of them when they were young.
There is also the relationship between Dandan and Lu Yanshi, which has changed too fast. It seems that they were bitter and hated before and suddenly called Dad. When she called out, not only Lu Yanshi was stunned, but we also followed. Well, the emotional foundation is still not enough.
That's all I can think of for a while. In short, since Laomouzi was known as the "National Teacher", the social pressure and public opinion pressure on the things he made have also increased. This movie is not bad, but Compared to his work in the 90s, it is a bit out of tune.
ps If I have half the mind of writing this thesis, I won’t delay it and still change it >^<
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