As early as Cannes, this film set off a controversy of praise and criticism. Both sides held their own opinions and spat at each other on various platforms on the Internet, resulting in a situation of ice and fire. For those of us outsiders who can only watch the fire from the other side. I'm even more curious about this film. I like the section chief's proficiency in portraying the group of people who are struggling in a backward and impoverished small town and are embedded in the gloomy appearance of life, but this time I will focus on my thoughts. On the causal interweaving between emotion, life and destiny, it is closer to people's hearts, and it is no longer so marginalized and then disconnected from the public's movie viewing trend, trying to establish more conscious connections and interactions with the audience, and connect life with the audience. The cruelty and impermanence on the road can be seen from the face of the life experience, and the sincere emotion can be revealed. The critics are still the "semiotics" and obsession with structure that the section chief has always used. The lack of emotion in the ups and downs of life seems very heavy and profound. In fact, it is more like a seamless connection of fragments, lacking a solid and solid cornerstone. It is still based on the usual methods and Chinese-style presentations to hope for international recognition. When I read it, I was caught in a grey area.
The whole film spans three time periods, from 1999 to 2014 to 2025, which lasted 26 years of vicissitudes of life, with Tao played by Zhao Tao as the main axis, from 1999 in a small county town to deal with geometric problems. Sandwiched between Zhang Jinsheng, a local tyrant and domineering president, and Liang Zi, who is in the lower class, after some small fights and jealousy, Tao finally chose to settle with the local tyrant for life and give birth to a son, while Liang Zi, who was hit hard, went to 15 years later, Tao divorced and the children returned to the local tyrant. Liang Zi unfortunately contracted lung cancer because of his long-term work in the mine. He took his wife (son) back to his hometown and resigned. Liang Zi’s wife asked Tao for help. Very sad. Unexpectedly, Tao's father passed away, and he was very sad and also ushered in the last short time with his son; 11 years later, the camera came to Melbourne. When he grew up and spoke a foreign language, the lack of mother's love made him fall into a long-term love, and he began to realize the existence of Tao from his vague memory. When the camera turned, the white-haired Tao was wrapping dumplings and thinking about his son, but In the end, she danced alone in the cold snow.
The footage of the section chief is relatively unpretentious at first glance, but there are also some originalities hidden under the ordinary appearance. The focus of the lens is to highlight the living conditions of the characters in the film. Most of the time, it is aimed at the words of the leading actors. One line, but the processing of the camera language is also different from the boring and amateurish swinging back and forth of traditional Chinese TV dramas, the dull and boring recording is finished, there are close-ups, long mirrors, and a voice-over with a sense of extended space. What is impressive is that there are a few inserted in it. In addition to intentionally giving the audience the most intuitive feeling on the lens, the section chief's special liking for the feinting performance and fuzzy freeze-frame processing of Duan's symbolic meaning of turning is also throughout. Pete (Zhang Jinsheng's foreign name) and "" "Knife" (a typical representative of self-inflated vulgarity under the rapid development of the times), Apple products (the Apple model of the post-10s generation was predicted in advance and became a symbol of social development), guns and bullets, a boy carrying a knife, delicious dumplings, going home The key, the plane crash, the trapped tiger, the blasting scene, the gorgeous fireworks, in turn show the connection between mother and child in front of the killing knife of time, impermanent world affairs, self-difficulties, life nodes, various objective hints and reminders, tactfully Or directly and with ulterior motives, this has formed a Jia-style characteristic. Although it seems a bit deliberate, it still has a positive effect. It can be seen that the section chief is trying his best to tell the torrent of the times in an objective manner. Humanity changes.
When talking about the soundtrack of this film, the section chief himself said that he made some new attempts this time, incorporating some reasonable and cheering music to highlight the changes in the situation and the emotions of the characters, which is sad and melancholy, especially the head and tail. Echoing the emotional "Go West" that sounded, there is a sense of seeing things that are right and wrong. Many recent movies have used the old songs that were once well-known to have a sense of age as a piece that arouses the audience's nostalgia and infinite resonance. A powerful bargaining chip, the same is true for "Precious" in this film. The sound at a critical time is a memory and emotional connection, which really makes people feel emotional. As for the performance, although the loli next to me has been complaining about Zhao Tao's smile watching It's not very natural, but it's undeniable that she performed well in this film, especially in the second paragraph of the father's death and the kind of mood and expression when his son was about to go abroad, it was very tearful. Zhang Yi's twisted dialect feels right. Duo Di is responsible for the comedy. Zhang Aijia's acting is excellent, and Dong Zijian is in the play. Although he does a good job, he really doesn't like the third paragraph. Although he doesn't find it unusually inconsistent and bizarre like many audiences, he is emotionally It is still a bit of an understatement in its portrayal (presumably many people are more interested in the future form of Apple), whether it is the father-son conflict between "Knife" and Pete, or the lack of a family, there is more that can be shown in depth. space and leeway.
Everyone can only walk with you for a short distance. It is a more conspicuous sentence printed on the poster. It is also a deep-rooted sentence said by Tao in the film. The mountains and rivers are still there, but the old people have passed away. No one can escape the experience and hardships of the years, and no one can break free from the shackles and direction of fate, the ups and downs of sorrow and joy, and the sorrow of parting welled up in the heart Everyone is a part of the evolution of the times. He has been constantly integrating, adapting, obeying, facing, resisting, and overcoming all his life, but in the end, he gives back more helplessness, regret and loneliness. After finishing a very sad movie, I will remember that I have experienced similar things, some relatives and friends who can only appear in memories, some life left and pain and wounds, can mobilize the emotional awareness of the audience, I think this is the most important part of the section chief. It is a place of spirituality and intention, and this piece may also become a transitional bridge for the section chief to step from the past form to another attempt.
However, after watching the movie, I still feel a little one-sided and thin. The first paragraph even used some jokes to create a lot of laughs. It is a relatively early summary to explain the original relationship and situation of the characters. In general, the second paragraph goes a little deeper, the traces of the changing times and facts are deepened, and a strong emotional connection between the characters is established. The last story encounters Waterloo, the intention is too obvious, the stamina is insufficient, and the profound appeal is missing. and convincing. Since "Tian Destiny" was accidentally labeled as "going to the store" and banned from screening, and then missed the audience in the theater, this relatively mainstream "Old Man of Mountains and Rivers" seems to me like a life buoy carefully crafted by a section chief. This time, I wanted to hang it on the waist of the audience reasonably and try to float safely and stably. However, we actually want to go deep into the seabed with an oxygen bottle on our back, rather than boredly sucking the thin air that we have long been accustomed to, the moment we walked out of the theater. , I suddenly have more expectations for "In the Qing Dynasty", which may subvert the previous selection and style of the section chief.
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