I remember after graduating from college, my buddy came to play in the city where I lived. In a video store, he found the DVD of "Suzhou River". Although he didn't have a DVD player at home at the time, he ecstatically took it. I know that she has become a complex in our youth, just like a kiss in a classroom, drunkenness in the bedroom, sweat dripping on the court, Xu Wei on the violin
... Suzhou River" this movie. At the beginning of the movie, the shaky picture is heart-warming, just like what I saw in "Dogma 95". Thinking that Chinese directors can also complete such a film, I can't help but feel respect from the bottom of my heart. I always thought that Zhou Xun was an elf sent by God. When I saw such a film, I was even more convinced of this idea. Of course there is Jia Hongsheng. I am very impressed with the film "Yesterday" made and starred in by Jia Yi. Personally, I think it's Zhang Yang's best film. Jia Hongsheng almost became a cripple because of drug addiction and autism. But it is undeniable that the temperament of him and Zhou Xun has guaranteed the artistic level of the literary film "Suzhou River".
The director tried to use such a film to express his views on lost love. Motor and Peony, "I" and Xiaomei. These two relationships are entangled because of the same appearance of Xiaomei and Peony. After the deep love with Peony, Ma Ma can no longer erase that innocent and sweet smile. Although he witnessed the scene of Peony jumping into Suzhou River, he still insisted that Peony did not die. And for a long time, I thought that Xiaomei, who looked exactly like the peony, was the peony that used to be. And "I", a wandering photographer, after a romance with Xiaomei, calmly accepted the lover's departure.
In my opinion, Xiaomei is a peony.
The peony that jumped into the Suzhou River was not actually dead. Later, because of her obsession with mermaids, she became a mermaid performer in a bar and met the "me" who was clubbing. "I", who was deeply attracted by the unique temperament exuding from Xiaomei, became this woman's second boyfriend. But "I" doesn't know everything about Xiaomei, and Xiaomei is like a mass of consciousness drifting in "my" life.
She mentioned a person to "me", and his name was Mada. He is a lunatic, Xiaomei introduced him to "me" like this. In the eyes of "me", Ma Ma is a stupid B who can't get out of his former feelings. Not only that, he also often harassed "my" girlfriend. Motor doesn't think so. In his eyes, Xiaomei is his peony—she doesn't want to admit it doesn't mean she isn't. So, Ma Ma repeated the story between him and Peony in the dressing room of Xiaomeidi over and over again, hoping to awaken the feelings between him and the woman in front of him.
In fact, Xiaomei is a peony. Beneath Xiaomei's indifferent expression was her fiery feelings. She told Ma Ma that she also had a "peony" on her left leg, which revealed the mystery. But she will still come to "my" house on time, because she is "my" girlfriend, at this moment, she only belongs to "me". After failing again and again, Ma Ma knew that his peony was no longer there. He found "me" again and said he was going to be away for a while. In fact, at this time, we have faintly felt a trace of ominous.
In order to further beautify the relationship between Ma and Mu and enhance the tragic effect, the director let Ma Ma and "Peony" meet again. As Ma said to "me" before he left: Peony is somewhere in this city. Mada met his peony in a convenience store far away from the city. From Peony, he took a bottle of bison grass vodka that once belonged to the two of them. Drinking this bottle of vodka, they rode their army green motorcycle into the Suzhou River. When it was salvaged, we saw two people, which was not the case. In the convenience store, the only real thing is that bottle of vodka. After knowing that Xiaomei can no longer be reborn as a peony, in Ma Ma's eyes, any woman who is related to his former love is a peony. After learning that Ma Ma lay down forever, Mei can no longer restrain her feelings. She ran to the corpse of Ma Ma, in her eyes, the corpse lying beside Ma Ma was not the "peony" exactly like her, but Ma Ma's unswerving ideal of love.
At this time, Xiaomei calmed down completely, she knew that she had really wronged Ma Ma when she thought she had been deceived and committed suicide by jumping into a river. Maa uses his own death to tell her that he wasn't cheating on him. So, she started to keep asking "me": she is gone, will "me" go to her like a motor? If it can't be found, will "I" be like a motor that keeps finding "Dead"? Xiaomei saw perfunctory and indifference from "I"'s answer. So, feeling deceived again, she chose to run away for the second time. Unlike the last time, this time, her choice was correct.
The director used the indifference of "I" after Xiaomei left, and the poignant beauty of Ma Ma's death, to express his value judgment on the lost love; The tragic contrast of death describes the true situation of lost love in life. Therefore, life is a kind of beautiful cruelty; at the same time, it is also a kind of cruel beauty.
Regarding "Who is 'I'?"
I think the "I" in the film does not actually exist. "who I am? "I am who I am. In the film, the director deliberately set the occupation of "I" as a photographer, and in the whole film "I" did not appear, but appeared as a perspective. This is because, for Xiaomei, "I" is her own, the most real self; and for Ma Ma, "I" is also his most real self. "Me" is like a mirror, Xiaomei and Ma are in front of "me", all their conversations with "me" are talking to themselves; all their questions about "me" are asking themselves. Therefore, "I" is just an excuse and an explanation for Peony's rebirth. In fact, what the director wants to express is that once love is gone, it will never come again. This has nothing to do with whether there is a person "I" or what kind of person "I" are. The significance of "I" to the film is that it creates a plump and complete peony and motor for the audience.
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