flying,
I will come later.
Everyone is the same.
This bland and poignant little poem is written by a Taiwanese Japanese expatriate who is about to return to China in "Sad City". Kuanrong Kuanmei brothers and sisters. Poeticized from the suicide note of a woman looking at the cherry blossoms during the Meiji Restoration in Japan, such as the retelling of Kuanmei in the play: In the Meiji era, there was a girl who committed suicide by jumping over a waterfall. , I'm afraid that once it disappears, I don't know what to do. It's better to be like cherry blossoms, leave the branches in the wind at the best time of life.
Do what you need to do, don't worry too much. The splendid cherry blossoms and the young girl in full bloom were so resolute about the most beautiful moment of her life, thinking about how quiet and how tragic the act of jumping down was.
The words "I don't know what to do" are enough to turn the unspeakable bitterness and grief in my heart into thick lead tears. I don’t know what to do with this, just like a long shot of no one in the film, a seascape full of confusion like an ink painting—mysterious, far and unpredictable.
If there is no such allusion, this poem would just be drowned out like a lot of broken words, just like when I first saw "Sorrowful City", I didn't know the sadness for the life and death of the Lin family at first.
Because it's so peaceful, like a wide and beautiful pen and Wenqing's face. With the director's usual long shot, even the fiercest battle is just a light and shadow or an echo passing through the sky. Also because it is too realistic, close to a historical record, a fragment of life in a small town when the Kuomintang took over Taiwan after Japan's surrender; there is no great sadness or joy in the play, and the Lin family's experience is not new to all beings. This kind of normality dilutes the sadness and joy in it, and how can a person who is accustomed to numbness find its bloodshot internal injury?
Abandoned by the Qing government, bullied and enslaved by the Japanese, and unloved by the Nationalist government, this "orphan of Asia" is like a doll. Obviously, "no one wants to play an equal game with it." How to be good” embarrassment and confusion.
For the dignity of existence and equality, all the grievances are transformed into the extreme violent aesthetics of resistance, and its highest state is a tragic death. Wenliang, Wenxiong and the underworld in other provinces compete for profit, the locals and other provinces in "228" fight each other, and intellectuals such as Kuan Rong fight for their beliefs, all of which seem to be Sakura's self-immolation-style violent aesthetics to answer "I don't know what to do." ".
This is in stark contrast to the calmness of Wen Qing and Kuan Mei. Or this kind of calm is the most energetic and most cultivating. Although the world is changing in nature, it boils down to relative silence as an appearance, and the return of all restlessness becomes cold, quiet, and desolate.
The future is as silent as Wen Qing in the play, deaf and dumb, making people wonder what to do. In the future, some people like to use violence and chatter to teach him to open his mouth and teach him to turn; some people talk to him with a poetic pen like leniency, choose his trivialities, bear his sorrows, soothe his restlessness, only Seek to live and grow in peace.
"Sorrowful City", "Sadness is a lyrical expression of tragedy, which dilutes despair and fear. Sadness is an aesthetic avoidance of reality. The melody flows like this, and I can't devote myself to it to capture the delicate details, and I can't stop, so I have to Let it pass, just like Taiwan let history pass, people go with the flow in history, have no fallback and no belonging."
In fact, in front of the wheel of history, no one can escape the fate of being crushed. I don't know what to do, and it's not just Taiwanese.
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