mode that Laomouzi is familiar with. Although I wrote a long article before saying that Zhang Yimou is also limited by the deep-rooted "
melodrama , but after all, everyone has their own strengths. If this film type can be developed
, And innovation is also boundless merit, just like melodrama master Douglas Sirk, Rainer Fassbinder.
It's a pity that "Return" is far from my expectations, and the most important criticism is that the film repeats the
scars that sprung up after the Cultural Revolution in the late 70s and early 80s. The film reflects the general narrative mode of film. It is true that compared with
the film career that was just emerging after the model movie at that time, "Return" has matured a lot in terms of film shooting techniques
, but its framework, themes and expression methods are still the same as those of more than 30 years ago. It can be said that there is no such thing. any innovation.
If the scarred movies from more than 30 years ago are still full of pure love and vigor, and
sincere , then "Return" is a bit more mature, but it is boring.
It 's like chewing gum crumbs that have been chewed many times before 30 years ago .
The structure and narrative of the film is very simple and can be told in a few words. Far from the epic
structure . Regarding the excavation of human nature and the steadfastness of love, its treatment is superficial, even if it is placed in the
scarred movie corps 30 years ago, it is only a medium level. Scars movies also have a high and a low score. For example, "Tears" starring Li Wenhua director
Xie Fang just plainly complained about how the Cultural Revolution drove people crazy and destroyed the originally good family and
love . It was very one-way. But the "Legend of Tianyun Mountain" directed by Xie Jin is much higher, not only writing about the repeated political struggles
Chang, the constancy and betrayal of love, also wrote about how the officials persecuted by the Cultural Revolution dealt with
others . This makes the problem much more complicated and profound. It's a pity that "Return" is the former one-way type. I
only saw how the errors and absurdity of the times can destroy people and destroy families, but I didn't see something deeper (
old Zhang of the Revolutionary Committee can develop , but unfortunately not).
If it was just a one-way theme, there were already hundreds of films thirty years ago , so why make them again?
Secondly, amnesia, see amnesia again! Although some students have analyzed the deep meaning of "selective amnesia" in the edition, and I agree with
it, but I still think that "amnesia" is a crappy way of dealing with
it The content is just a screenshot of the last 30 pages) There is no way to naturally develop the plot and forcibly manipulate the
characters . It can be said that the works that use amnesia to build the main line have strong traces of artificial manipulation, and it is easy to
produce bloody plots with twists and turns. In essence, the husband helps his wife regain her memory through various means is
no different from Andy Lau helping Chow Yun-fat to regain her memory, and in many TV dramas, someone tries to wake up a vegetative amnesia person over and over again
, induce tears, and finally recovers. The plot of the memory but the two still can't get together is not much different. Fortunately
, the ending of the movie "Return" is not so bloody, otherwise it would really become a romance TV series or a reading for "Story Club".
The biggest highlight of the movie is the performance. Chen Daoming and Gong Li are still old actors, and the roles of the movie are also very suitable for their
play . The new "seeking girl" is also good. She worked hard and practiced a model ballet. In the dialogue with Chen Daoming in the corridor, she used a
side light to hit her face, compared with Chen Daoming's backlight, and the shading is quite beautiful. The theme song of the movie uses
the movie connotation of "Fishing Light" to imply the tragic fate of the hero after his return, which is also more appropriate. last shot of the movie
Eternally restrained and impressive, this makes the film at the last minute draw a line from the romance dramas mentioned earlier.
In short, Zhang Yimou's provocative melodrama is still very skilled, needless to say. But as an internationally famous director,
after all, the requirements for him are still higher. The entire movie doesn't break the melodrama genre in any way
, nor does it go beyond the general category of scarred movies thirty years ago. Then why shoot it again?
Perhaps it is to show young people the stories of their parents, to see the absurdity of the times and the steadfastness of love at that time. Because
they obviously have no interest in watching the old scars movies anymore. People who have lived through this period will also nostalgically want to
see how this history is told in the new film, even if they see it the same way. The movie uses Lang Lang to
play "Fishing Light", which shows such a market orientation, because such a few simple notes do not need such
a level of pianist to play. Just as the name of the film suggests, Zhang Yimou is just letting this history "return" again. Let
me talk about it in an old jug filled with new wine. Perhaps audiences who are not familiar with scar movies will be very moved, but from the
perspective of Chinese film history, This piece of gum doesn't have a new taste.
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