Actually, no! Because the films of Jia Zhangke and Wang Xiaoshuai are realistic, the direction of the camera is the living conditions of the bottom of the society, and the darkness in the corners is too exposed and even pulled out for exposure, which violates the tradition of praising beauty in film art. The uncomfortable side is shown with still shots. But it's real, so young people like to watch it and it resonates.
After talking a lot, what I want to introduce is "Seventeen-Year-Old Bicycle". It was filmed by Wang Xiaoshuai again. The story of this dude's movie is very simple, which always makes people feel uncomfortable. After watching it, I have a lot of feelings I want to say, but I don't know how to say it or where to start it, which makes people feel complicated. . I think this is a great director. The movie can move people, and after watching it once, it will leave an impression. "Left and Right" is like this, and so is "Seventeen-Year-Old Bicycle".
The story is very simple. A rural teenager Agui found a job delivering couriers by bicycle in a courier company in the city of Beijing. The company gave him a brand-new mountain bike. As long as he earned enough 600 yuan, the bike would belong to him. all. But on the last day, his car was lost and the story started because of this bike. Ironically, near the place where he lost the car, a group of old people were beating gongs and drums and dancing yangko songs, looking like a peaceful and prosperous world. His car is lost, and his fate and life will be changed as a result; while Li Ren still lives his own life, it is a contrasting picture. Same city, different life. On the other hand, Xiao Jian, a city student from a poor family, lives in the Hutong compound with his parents and stepmother and his younger sister brought by his stepmother. The rebelliousness and pride of youth made Xiaojian almost indifferent to the non-biological sister, and the two were speechless when they looked at each other, and the beginning of the story was that Xiaojian's father had promised him that he never bought a bicycle for him, but he didn't. He spent the money on his sister who was admitted to a key middle school, so he stole the family's money and bought Agui's stolen car on the second-hand market to satisfy his vanity. Since then, two unrelated people have been linked together because of this bicycle.
In Agui's view, a bicycle is a tool for labor and a tool for him to eat in Beijing. If he loses the car, he has nothing, which is equivalent to losing his life. In a sense, the car is everything to him. For Xiaojian, his buddies all have cars, but he doesn't have them, so he can't play with his buddies after school, which is embarrassing and shameless. Because his family's situation is not good, he is a poor man in the city. Having this good mountain bike and extraordinary riding skills means that it is cool and will attract the admiration of girls. In a word, he can keep up with his friends, including the girl, without a car. Without a car, he can't perform car skills, which affects his emotions. The girl who originally admired him also ran away. So the car is equally important to him. It seems that seventeen is the age to love vanity.
There is often an episode in the movie, the beautiful woman wearing a cheongsam on a high-rise building not far from the dilapidated small grocery store, the two are so close and out of reach, the look up of the camera is a spiritual symbol. Especially obvious. At the end of the movie, the out-of-reach cheongsam woman is actually a small nanny who came to work in the city from the countryside. She likes to secretly wear the hostess's clothes and high-heeled shoes to go out on the street, only to be found out by the host. This woman has no dialogue in the movie. She has a gorgeous dress with red high-heeled shoes, and swings in the alley with a soy sauce bottle. She is full of the sound of "da-da-da" high-heeled shoes. She wants these appearances and sounds to disguise her rural identity. In fact, this is also a mentality change from the countryside to the city, from being simple to vain, and finally being stripped to perfection, which seems to be out of tune with the city.
Regarding the first love in the movie, the most impressive scene is: the girl named Xiaoxiao was waiting for the girl to go to school in the rain after she transferred her love and parted ways. In the distance awaited her new object of affection. The two seemed to have said something, and then the young man came over on a bicycle. He looked at Xiao Jian for a while and said, "Is there a fire?" Xiao Jian panicked and said, "No." The young man sighed contemptuously, took out his lighter and lit the cigarette, said nothing, just patted Xiaojian's face, and then walked back. So later in the hutong, Xiaojian picked up a brick and followed Xiaoxiao and the young man. When the young man was not paying attention, he gave him a brick on the back of his head. This is the impulse and anger of youth, but isn't that the case with me when I was seventeen? Yes, that's it, so I totally understand. It seemed that girls over the age of seventeen liked rogue-like older men, and they explained that they felt safe. Not to mention how absurd reality is, but a pure first love has been blackened by this vain appearance. The actor of Xiaoxiao is Gao Yuanyuan, who is just like his name, with big eyes, round face and sweet smile. , like a doll. I love everyone. I want to fall in love with a girl as pure and beautiful as her, but such a pure image is ruined at the end of the movie. Maybe this is the uncomfortable place of Wang Xiaoshuai's film. It is undeniable that he has the ability to mobilize emotions.
I like the movie "Seventeen-Year-Old Bicycle", because it is real and so kind, the impulses and confusion of youth, the frustrations and mistakes of growth, make people confused and lose their senses, and then the impulsive behaviors are so familiar, just like yesterday.
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