In terms of subject matter, the two movies "The Bicycle Thief" and "Seventeen-Year-Old Bicycle" have the same purpose. I saw from the Internet that Wang Xiaoshuai also said that "the two movies" Paying attention to the fate of the little people in the big society, and doing their best to survive, has significance for Italy at that time or China now." It is undeniable that if we discuss their social connotations, we can discuss them to a very deep level. But unfortunately, I only watched it once, and I almost forgot many of the plots. The meticulous analysis of film critics is no longer possible, so I can only rely on feelings like the most ordinary audience.
The two films were watched together, but they felt very different. I love The Bicycle Thief. The feeling of watching the whole movie, "Bicycle Thief" is like a long day, "Seventeen-Year-Old Bicycle" is like a dream. The former is very plain, and the cause and effect of an event are clear and clear, like a thick line, clear and smooth, and it feels like a cohesive one. The life expressed in it is simple and purposeful. In other words, what the director wants to express, whether it is difficult to survive, or the persistence of the protagonist, is handled very uniformly, the whole narrative atmosphere is integrated, the audience accepts it without any difficulty, and they naturally devote themselves to the plot. Even if you express some emotion when watching it, it is a matter of course. I don't feel far-fetched. And "Seventeen-Year-Old Bicycle", for me, has too many miscellaneous things. I was very impressed with the uniforms in it, whether it was from a courier company or a school, it was so perfect, it reminded me of the couriers and middle school students I came into contact with. And then there was the car, which was new and beautiful, not dirty at all. Then there is sunshine, willow, and wind (is that Shichahai?). Then there are the dance machines, extreme car skills, the general discourse of the Beijing ruffian... I can't focus on the event itself, I am constantly attracted by these new things, they are kind and familiar to me, the director uses his cuteness The lens, let me relive my warm past. I had a great aesthetic enjoyment watching those things as if they were my own memories, and seeing them twinkle on the screen so rich and perfect. I rebuked myself and warned myself that I should pay more attention to understanding the difficulty of the survival of "little people", but I rejected this theme from my mind, and its existence hindered my sense of beauty. I know that the director wants to express this theme, and this movie may be profound because of this. I have also seen the director try very hard to convey the message whenever he has the opportunity, just like writing an essay in elementary school from time to time, but I just can't Accept, it's too deliberate. I ideally imagined that when the director made this film, he was immersed in the warm spring atmosphere for a while, and then he sighed deeply about the heaviness of society. These experiences were all sincere. However, maybe it was wrong, thinking that only sincerity is enough Well, regardless of their conflict with each other. And the technique of reconciliation is too jerky to make them blend. Therefore, "the benevolent sees benevolence, and the wise sees wisdom" . I imagined that my non-local friends who came to Beijing to work might shed sad tears when they saw the courier boy reluctant to give up a job contract in the video room; but I really couldn't be moved, even if I consciously reminded myself, Nope, I was attracted to something else. And when some humanistic spirit made me repeatedly and guiltily condemn myself for such a lack of conscience, sympathy, and sense of social responsibility while watching a movie, I felt from the bottom of my heart that watching this kind of movie is really tiring.
Of course, all of this may be because I am Chinese, a Chinese born in the 1980s, and if I were Italian, I might have found The Bicycle Thief to be unappealing. But in any case, the things that can be expressed in a movie are infinite, but the way of expression is indeed limited. If there are too many valuable ideas, the director must know how to give up. I'd rather believe that the director is the kind of enthusiastic and knowledgeable (rather than flattering customer) designer, but one room, one style is enough, and only one style can be pure, perfect, and thorough. Dreams are not realized in one work, there is still a long way to go in the future, so what's the hurry?
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