"I'm 45 years old and have a lot of experience with emotions, but I don't want to make love things, but more and more I want to make romance movies. I want to make a movie for myself. Youth must pass. , the world is no longer so simple, there is both beauty and bitterness when reminiscing about all this, and these feelings have become this movie."
Jia Zhangke's own words should be the best footnote for "the old people of mountains and rivers".
About love, shoot for yourself.
If you have to compare it, it is this "self" that surpasses Jia Kechang's previous works.
"Platform", "Xiao Wu", "The Three Gorges Good Man" and "Tian Destiny" can all be called good films. But the energy of "seeing the big from the small" and "reflecting the social reality" is unlovable.
A moving creation should be completely self. Not so much sense of justice, responsibility and author film skills.
The stance is clear, I like "the old people of mountains and rivers", and even passers-by turn fans.
The
triangular relationship between Yitao, Jinsheng and Liangzi. Two men love one woman, one is a wealthy, exaggerated and exaggerated rich man; a stubborn, indifferent, mute pauper; and a woman who is really stupid and pretends to be stupid, and hovers between the two. main character.
Such a relationship between characters is really reminiscent of domestic youth idol dramas. And Section Chief Jia seems to have deliberately moved closer to this famous pattern in terms of specific dialogue and scenes.
The absurdity is that the three protagonists of this story are not youth idols at all, and they are all down-to-earth from modeling to identity setting.
Born in a small place, the boss is not young, no knowledge, not beautiful, vulgar. But the same is jealous, awkward, and full of inner drama in love.
Tao and Liang Zi shared a bowl of dumplings, "really like a couple". Jin Sheng stood on the street, blushing and tearing at Tao and said, "You bully me." - "I care about you, you bully me."
Tao married Jin Sheng, and Liang Zi put his back on his back after receiving the invitation. Leaving the luggage, throwing away the house key and putting down the harsh words: never come back.
At that time, love was regarded as the whole of life by them. Every little bit of bells and whistles related to this is a matter of life and death.
Jinsheng wants to blow up Liangzi with explosives, and Liangzi wants to break with the place where he was born and raised. These fuss-free moves to outsiders are truly heart-wrenching. No exaggeration.
The first part can be said to be a condensed version of the "Xiao Wu"-style youth film. The three protagonists are as inescapably trapped in their hormonally swelled love as everyone else. And because their distortions and fascination are no different from everyone else, the hysteria with a sense of absurdity is even more direct.
Of course, Chief Jia said, youth must pass.
Second,
love is not as lasting as the stimulation that material, fame and fortune bring to people.
By 2014, Jin Sheng, who silently put Tao's favorite "respect" into the player, was already someone else's husband.
He is still trying his best to make money, but he must think that "I want to blow up Liang Zi" himself is ridiculous.
Gathering and parting, birth, old age, sickness and death, and trivial daily life make people have to admit that their abilities are limited and do what they can from now on.
People are middle-aged. Forced or active, they begin to connect with society more and more deeply.
Pneumoconiosis, PetroChina, anti-corruption immigration. All appeared at this time.
When Liang Zi smashed the door lock with an iron hammer with a blank face, his youth was completely over.
The three
watched this film with friends, turned their heads from time to time to discuss the first half, and couldn't say a word when they saw the third part.
For every unrolled line points to nothingness.
The abruptness of the bed scene between Dong Zijian and Zhang Aijia is not due to the age difference between the two, nor is it because the emotional progress in the play is not enough. But the fact that two people are really together suddenly throws up the ultimate question about relationships.
Is there love between Dollar and Mia?
There is no shortage of sexually suggestive shots in the relationship between the two, such as the two seconds when Dollar's eyes are fixed on Mia's buttocks.
But as Mia drove Dollar, he was pleasantly surprised: this scene must have happened before. Mia's position at the time was where his mother was when he was 7 years old.
The two gradually approached, and every movement came from understanding each other when their armor was removed. It wasn't until I snuggled up on the bed and saw each other naked, when there was no physical distance, that I revealed my inner self.
It must not be just love.
But are there boundaries between love, family, and friendship?
In the end, Mia accompanied Dollar to buy a plane ticket and go home. The conductor's sentence "you and your son" stabbed the sensitive area of the relationship between the two with a steady and ruthless tone. Dollar rushed out the door in a fit of rage, but when Mia asked him how he would introduce himself to his mother - "teacher, sister or girlfriend"? He dared not answer.
The phrase "you and your son" represents the stereotypes and pressures of the outside world, and until the question is asked, they both shy away from defining what happened between them. Because let nature take its course and proceed from the heart, that kind of emotion and getting along are the closest to human reality. And "you and your son" is like a wake-up call. After the ringing, the two have to face the reality. Mia's question and Dollar's refusal to answer are all helpless after returning to the regulated emotional order.
The relationship between people has no age, gender and nature of the distinction and boundaries.
Emotions may be categorized and defined only by humans in search of order and convenience. It's not what "relationship" really is.
Then:
about religion. Liang Zi worshipped Guan Gong before leaving the mine; Tao's father passed away alone in the waiting room, and a monk on the side found and recited the scriptures for him; Dollar said that the scene of riding with Mia seemed familiar, and Mia replied that it may be traces left in a previous life .
About freedom. The old Jin Sheng, holding a gun, shouted at his son who couldn't speak the language in front of his big villa in Australia: In the past, China did not allow individuals to own guns, but now Australia is legalized, I can't even find my opponent with a gun. , you TM tell me what is freedom? !
About time. "Everyone is destined to accompany you only for one ride." Mountains, rivers, and old people cannot escape changes. Loneliness is fatal, understanding and companionship are unattainable luck.
About nostalgia. I loved meatballs and dumplings when I was a kid, and still my mother, my aunt, my grandmother and my aunt still think so. So every time I go home, they will make each of them at least once and ask me to eat. Both of these things have steps to chop the stuffing. The two close-ups of Tao making dumplings and cutting stuffing in the film reminded me of them without reaction time. The frequency and sound of the knife falling on the cutting board are so similar.
About personal sorrows and joys. The wedding and funeral in a small place are all hosted by the same host. The boss Shen Tao, who gave the new couple an iPhone at the wedding, is already a desperate and helpless daughter at his father's funeral, but the host on the side is using the same warm blessing as the blessing. The tone speaks words of condolence: what if your world collapses? Other people's lives will continue as usual. This is also part of the harsh reality.
The flow of affection and individual life is the main line of this film. But whether it is about feelings, nostalgia, life and death, or about belief, time, and freedom. The film has no answer. It is only responsible for throwing you into nothingness, leaving the rest to yourself.
In Jia Zhangke's films, there are of course many symbols worthy of interpretation. But that may be by design. What the viewer can record is only a very personal feeling, not necessarily what the creator meant.
Of course, that's probably one of the reasons why writing is so exciting, you don't know what chemistry your message will have with his personal experience when it reaches the recipient.
Finally, let me sigh again, the feeling is really too personal. The feeling after watching may be far away from the object you "watch", but it must be very close to yourself.
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