2014.5.28
At the beginning, "Days and Nights in Tianshui Wai" was a great success, which seemed to be beyond Xu Anhua's expectations. On the podium, she said emotionally, "I finally have confidence again." In "Sister", we can see Xu Anhua, who has settled down more easily.
The most beautiful time for Hong Kong movies was in the 1990s, martial arts films, police and bandit films, comedy films, gambling films, and zombie films. However, the dream is full of flowers and bright lights, and when you wake up, it is only a light cloud and the wind is light, and the heroic era of romanticism has come to an end. At this time, another type of “Made in Hong Kong”, represented by Xu Anhua, which looks very bland, has become the mainstream. There is only one key word for this type: life. The film "The Thief of the Years" is also a masterpiece of this type of Hong Kong film. After Wu Junru made her first Chinese watch with this film four years ago, she was full of emotion, saying that she had not been successful in the comedy for so many years. It turns out that life is the best screenwriter.
Due to various reasons, the people of Hong Kong really settled down, they began to recall and cherish, and they began to return. Although it seems calm, it is also a little sentimental. When I looked at the pictures of all beings in the elderly home in "Sister Peach", I couldn't help but associate it with the entire Hong Kong movie. Romanticism belongs to youth.
However, the most rare thing is that Xu Anhua did not linger in sentimentality. She showed us a quiet picture of a nursing home. She was just showing it. She did not intend to beg for mercy, let alone complain or criticize. This kind of calm and objective representation can actually arouse the most subjective emotions, only the reality is the most shocking, and only the reality is the most touching.
The nursing home is like a forgotten corner, with a proprietress who only knows how to charge indiscriminately.
The condition is extremely poor, the so-called "best room" is only a few square meters. The food has no color. Eating this kind of rice every day is no different to Sister Tao, who has to wear glasses to pick garlic, eat fish, and think that tempeh is too salty. to torture. What impressed me the most was that the nurses notified each other before the meal: It's time to eat! A similar sigh came from the room: Why did you eat again... And the old man in the other room grunted twice, unable to answer. For them, it doesn't matter if they eat or not, there is no fun in life, sitting there all morning and the time is over, just like we sometimes have nothing to do and just fall asleep: eat so quickly already?
On the first night of Sister Tao's arrival at the nursing home, perhaps because she was not used to the new environment, she woke up at night, leaning on crutches, and moved to the toilet step by step. During this process, in addition to hearing the footsteps and crutches of Sister Tao who is struggling to move forward, you can also hear the old woman in a room next to her saying, "I want to go back to the country, I want to go back to the country..." She packed her luggage and stood at the door of the nursing home, shaking the handle vigorously. Others lied to her: "Come here, I'll take you back to the countryside." Then they dragged her around the hall of the nursing home endlessly.
We don't know how many times this happened, but we can guess that after a few days, the old woman suddenly woke up for a while, and found that she was still in the nursing home, and she would make a noise to leave again, and the scene would repeat itself again. Repeat, repeat, repeat, until the quiet day comes, and that day will not be far away. Boring, lonely, fate, a little cold humor.
But these meanings are all our viewers' own imaginations. The director didn't explicitly say that, she made it right, and the deep meaning can be seen in only one place.
Uncle Zhong is a rare living figure in this lonely elderly home. He invites people to dance, and he invites Sister Tao, and he dances alone when no one is with him. We will have a good impression of him. After that, he borrowed money from Sister Tao. He seemed in a hurry. Without knowing it, we would think that he was in trouble and develop sympathy. But after that, we learned that he was taking money to go to the "barbershop", and that old and romantic appearance made us dislike it at all. Roger said don't lend him money, do you know what he's taking it for? Sister Tao said, borrow, borrow, how long can he be happy? Sister Tao's helpless words made us sympathize with him again.
In a simple sub-line, the viewer has as many as four emotional changes to the characters, with a strong sense of substitution. The situations that the director chooses at every turning point are ordinary life pictures, sometimes even just a back view.
There is also an old woman who has both children and lives in a nursing home. Why? From a few conversations with her daughter, it can be generally known that she wants to talk to her son, the son ignores her, and the daughter asks her to go, but she refuses. What can we say to such an old man? This is just like many things we have encountered. It cannot be simply judged, but it only makes people worry.
During the festival in the whole city, fireworks are set off on the TV, the voices of people are noisy, and there are only two people in front of the faint fluorescent light of the TV. Miss Qin was eating melon seeds and pretending to be relaxed. Sister Tao asked why she didn't go home, and she said she wanted to let the people below her celebrate the festival. Sister Tao asked about your family, but she stopped talking. And then no more.
Everyone in the nursing home has a story, and it doesn't seem like a simple story, but each one is adequate, not spread out, only a few shots and a few lines of dialogue, like excerpts from ordinary chats, But it can be imagined, aroused waves, and let us reminisce for a long time.
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