I tried to see the assassin Nie Yinniang two years ago. Maybe the time is wrong, but I just don't understand. Yesterday so I saw the best time. I think maybe I have changed. Hou Hsiao-hsien's photographic perspective makes me want to scream.
The long shot of the pool table at the beginning, watching the ball roll slowly from one side of the table to the other and then hit the pool ball upwards, almost gave me a kind of meditative beauty. Watching the light and shadow change, you can feel the slow passage of time. Next is the character close-up. There are not many people in his story, but the small changes in mood are revealed in small and small details. For example, when Xiu Mei started billiards with people, her appearance was calm and stable. But when she was playing pool with the boy, she started walking involuntarily with a little coquettish tremor. Also, the movie first had a long shot of Xiumei opening a shop by herself and tidying up the table, and later a long shot of her receiving the letter. The same action, the same silence, but you can see her excited little mood from those little body language. Later, she saw when the boy came to her. She sat with the boy, propped up the chair with her hands, shrugged her shoulders and leaned forward, her body tucked away. It was the body language of a shy little girl, very different from the confident feeling she had when she played pool. This is how girls really look when they meet someone they like, they are super cute.
I also like the small conflicts in the stories that are not explained in words, leaving a lot of room for people to imagine. For example, the first time a boy wrote a letter to Xiaochun, Xiumei saw it, but she didn't say anything, she still replied to him excitedly. Why didn't he feel when he saw Xiaochun again? Why did he start writing to Soo-mi? Why did Sumei leave the original pool room without telling him? These make people think a lot. In this story, as beautiful as it is, it is not what we imagine perfect love to look like. It is not irreplaceable, and the hearts of the two also flicker, like candles in the dark, making people unpredictable.
The same is true for the second part of the story. The girl didn't say a lot of words, but we were already thinking about it. I think the reason his films are suitable for older people to watch is because we have a deeper understanding of human emotions. When we see a person's short speech, we will put a lot of emotions into it, so many things in the story do not need to be explained, the viewer already understands. This taste is actually not only what the director wants to express in the end, but more of our own things, our own emotions, our own sadness, our own helplessness, and our own bitterness. It's like drinking alcohol. After the wine is in the belly, our emotions pour out. Those emotions are not brought to us by the wine, but our own. And this movie, it's like an introduction. It opened an exit, and the space it entered was empty and quiet. We have plenty of room to savor our emotions.
And the picture of the second story is really beautiful. It is like a dynamic Chinese classical painting, with the background sound of the singing, I think I can watch those pictures and watch them 10,000 times, as if I live in that slow and beautiful time.
And the story is so simple, yet so interesting. What the man said from beginning to end was all about Mr. Liang. Even if it is the final farewell, it is still Mr. Liang's poems. Men have men's dreams of freedom, and women have women's dreams of freedom. The woman quietly listened to the man's dream of freedom, the so-called "confidante", what a wonderful relationship, and in this, she always looked up at her quietly. And her dream, only he can give it. And all he gave was silence. In a story like this, you can't tell who should be how. Is the man wrong? But from his principles, he is completely right. He has a family background, and he has always opposed the feudal society's system of taking concubines, and he has his dreams to chase, and he can't give what she wants. Can the woman be wrong? In such a world, she had no choice, he was her only possibility. She was helpless, helplessly watching others get happiness, helplessly watching another child follow in her footsteps, helplessly watching him silently and saying goodbye. She could only quietly, smiling, and listen. But the scene where she combed his hair was so slow, so peaceful, so wonderful. What a chaotic time it was, to be able to have such a peaceful moment, be by each other's side. At that time, what was the point of talking about who was right and who was wrong, the beauty of the moment had become eternal.
I didn't pay much attention to the third story. I don't know why Jing is with that girl, maybe it's just a place to live and a bowl of soup from that grandma. It's just that when Jing and the boy were riding a motorcycle on the road, she hugged him tightly, as if two young people were struggling with this complicated time together. It seems that it has been opened, and it has been opened, and it can be driven to the end of the world. This reminds me of my favorite ending scene in Exit 6 of the movie, Ethan Ethan skateboarding towards a bridge, he raised his head and stretched out his arms, shouting loudly. That kind of fighting attitude is my definition of youth, and that fearless, tragic feeling to the end of the world is the unique romance of youth. Sometimes I feel that romance is getting away from me, so whenever I see something with that romance in it, I'm moved to tears. I don't think anything else matters. This is what I understand, in my heart, the dream of youth.
View more about Three Times reviews
