1. His films are not made for the audience, at least not for the average or even the vast majority of audiences. Jia Zhangke, who has won awards at foreign film festivals many times when he was young and frivolous, deeply understands that the oriental perspective of the western world is What's going on, you have to shoot those subjects so that you can appreciate them deeply.
So, "Old Man of Mountains and Rivers" gives me the feeling that many scenes and bridges are not like movies, but like well-known writers and filmmakers in Fangsuo Bookstore. When the actors appear, they are not acting for you, nor for you. Tell the story, but put on a pose, waiting for the critics to decipher all kinds of symbolism, metaphor, repetition and loop, waiting for you to applaud.
So watching his movies, especially this "Old Man in Mountains and Rivers", you will feel that there is a lot of content that can be made into a movie, no storyline, or even characters. The main body of the symbol of deep love can be made into a slideshow: dumplings, which means the taste of home; the key, which means the restart of home life; the wedding invitation, the big golden retriever is replaced by a small golden retriever, which means the docking of time and space. . . . . .
He completely ignored the coherence of the story, the logic of the plot, the clues to the story, and the rhythm of the film, which are still very important to a film. In fact, the plot of any film uses hundreds of words. The synopsis can also be made clear, just like the synopsis of the story you and the chief chrysanthemum submitted for approval when applying for the project, but why didn't we sit in the cinema together and listen to the narrator prepare to recite the synopsis of the story aloud, but instead we spent money to buy tickets and waste time. After a few hours of watching a movie, the key is that it should be a story first and foremost. Even in the pioneering film about the experiences of people with AIDS that is covered in blue from beginning to end, he is telling his own love story, not explaining PPT to you.
2. For example, in the last scene of Zhao Tao dancing, the last scene of "Fireworks in the Day" (at least the last scene seen in the show, as for the deletion or deletion) is also the protagonist dancing alone, but Liao Fan's dance is The context is that after trying his best to experience love, entanglement, justice, etc., he still catches the female murderer, whether it is because he is unable to restrain his heart, or whether he intentionally or not, that is a kind of At the end of the story, the protagonist develops all reasonable emotional expressions according to the logic and plot of the story, which is natural and smooth.
However, Zhao Tao's solo dance in "Old Man of Mountains and Rivers" is almost without warning, and in the long shot, she takes the dog, walks on the snow, lets go of the dog, puts on the air, and starts dancing. There is almost no story in it. The only thing is for movie interpreters. Of course, some people will say, this can be explained here, here can be explained that way, but hey, then you just don’t make a movie, just type the explanation on the screen , let the audience read it well.
Cinematography should first be a movie. The origin of the movie is that Lumière made a train coming to a station to show people the story, not a montage experiment that spliced together a bowl of porridge and the expressions of different people.
3. For example, the key in the movie, an important and symbolic clue that runs through the front and back, you will find that Jia Zhangke's handling is very ritualistic, whether it is when Liang Jianjun left the old house in Fenyang, or Zhao Tao took out the key when she was sending her son off on the train, and when Zhang Aijia and Le Bed play, the characters displayed the key too ritualistically. The characters in the smooth story would not pick up the key, put it in front of her eyes, and place it in front of her. A pose, a long-term close-up, I think this should not be a problem with the actors' acting skills, because it is impossible for several people to act like this, it may only be intentional by the director, because the interpretation of this symbolic price is in his eyes. The most important thing is whether the film culture scholars, media reporters, and film critics can quickly interpret the film. As for whether the audience can watch it naturally, smoothly and comfortably, it is completely secondary.
4. I have to say that although it is understandable to recommend her own woman, Zhao Tao's acting skills are really poor. Her understanding of dialogue and performance seems to have completely won Jia Zhangke's true biography: everything serves interpretation!
With her stiff limbs and expressions, the character's own appeal is very lacking. Whether it's the sadness of her father's death, her complicated feelings for her son, or her return to the station where her father died, her performances are full of stylized moves. The actress is no longer the protagonist of the movie, but just to complete every link. , for subsequent interpretation.
5. Why Zhang Jinsheng will definitely be the local tyrant who speaks Fenyang dialect in Australia in 2025, wears simple clothes, and is slovenly? He also deliberately put a bottle of Fenjiu to show his persistence in Shanxi culture and living traditions and his unwillingness to forget them. This repeated and deliberate emphasis is really symbolic and facial, and it exists deliberately to illustrate the cultural generation gap between father and son. The characters all become extremely flat characters, they have no complexity, no variables. A son who grew up in English, why didn't he suddenly discover that Fenjiu is delicious?
On the contrary, Zhang Jinsheng's words full of contradictions and complexity are more memorable: I have the freedom to buy guns, but I have no enemies.
6. Jia Zhangke's films are the most natural and smooth, and the rhythm is well grasped. I think it is "Xiao Wu". After the world, he ran away from the road of over-interpretation, and stood on both sides of the road, full of love for him. The anticipating audience was full of dirt.
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