Art, sculpture and other plastic arts can intuitively appeal to vision, and music can rely on hearing, but in terms of smell, various art forms seem to be extremely difficult to grasp. Literature can barely write the sense of smell, as for movies, it is extremely difficult to express it vividly. "Perfume" can be said to be a typical example of smell dominance. In "Sunny Days", Jiang Wen's narration revealed two kinds of smells, one is the smell of burning weeds, and the other is the fragrance of memory. These two scents completely shape an ideal world.
When I watched "Sunny Days" before, I focused on the agility of adolescence and the melodiousness of the country knight interlude, ignoring the importance of smell. Rewatching it last night, I suddenly felt that this movie is really unusual, hazy and illusory, especially Jiang Wen's narration, which expresses the smell, touch, and feeling in the heart. Become three-dimensional, become multi-faceted, through induction and harmony.
Reality and memory are intertwined with each other in the film, and it is inseparable. Ma Xiaojun's memories are always wrapped in the subconscious deep in his emotions, so everything is difficult to distinguish between true and false. The original "Ferocious Animals" is also handled in a similar way. The memory of "I" always conflicts with the truth. So the atmosphere of the whole movie, like the backlit high-ranking building, is vague and confusing. If we want to watch the movie in the way of a drama film, the dream of "Sunny Day" may not be suitable. This kind of uncertainty is the charm of this kind of film. What we want is the individual and the times, youth and ideals, truth and The gray area between lies.
Therefore, the aroma in memory is not necessarily the real aroma. Ma Xiaojun is on the roof, in the compound, in his home in Milan, venting his excess energy of youth time and time again. In that utopian age where everything is full of revolutionary passion and all yearning for roots, a young man, in his small environment, builds Out of a psychological utopia. In it, it is full of revolutionary ideals woven by the times and individuals, as well as more sexual fantasies and rebelliousness in their hearts. The sun is shining, the sun is shining, and the scenery in memory is naturally fragrant. Ma Xiaojun discovered the colorful swimsuit photos in Milan, and has been wandering here since then, looking forward to the appearance of the people in the painting, but unfortunately, as the narrator said, "I wear the stars and the moon, and I still get nothing." But Milan told the truth of the matter. There was no photo of Milan's color swimsuit on the wall. It was just an ordinary black and white half-length photo. Milan couldn't swim at all. Continuing to watch the movie, we will find that Milan once went swimming with Ma Xiaojun and others in the swimming pool. Ma Xiaojun knew the relationship between Milan and Liu Yiku, and also knew that Milan used to have a close relationship with a boss, and she was not the ideal sister. Our memories will always eliminate those unpleasant, leaving only beauty and hope, only beauty and fragrance, so it is not difficult to explain why Ma Xiaojun will be so fond of Milan when he first met Milan, so that the photos in his heart are actually colorful and full of sex. A suggestive swimsuit photo. He transferred all his emotions to Milan, and although he was naive, it was still a juvenile idealism. I think this is also a major theme of "Sunny Days" at the micro level, innocence and ideals.
Jiang Wen gave an intuitive image of belonging to a group of special groups in the era of bright sunshine and unbearable passion. It was an era full of the smell of burning weeds. Schools were often closed, and students were sent to the countryside and factories to experience labor, and young people would vent their energy in their own way. They fight the injustice, the truth is indistinguishable, and they mistake the innocent for sinners; they gather at the entrance of the theater, chat with the girl, and go to the cinema to peek inside the movie. Like young people of all times, they worship idols and heroes, imitate the dying image of Vasily in "Lenin in 1918", and fantasize about our army defeating imperialism in the Third World War. There is sunshine everywhere and heroic hymns everywhere. But why is there a smell of burning grass under the sun? Why does Ma Xiaojun feel depressed again and again? Perhaps this is also Ma Xiaojun's inner reflection, the taste aroused in his heart for that era. The real experience has been covered up by vague memories. It is difficult to determine the truth of everything presented in the film. We can only feel the romance, helplessness, loneliness and catharsis of Ma Xiaojun. As for the truth of everything, it is difficult to conclude. You can say that Ma Xiaojun didn't answer the bright side of the sun directly. Like everyone else, he was covering up something, but I think since it is so romantic in his memory, let's take romance as the truth. In "One Hundred Years of Solitude", Márquez wrote: "The past is false, the memory is an endless road, all the past springs are gone, and even the most tenacious and frantic love is only in the final analysis. A fleeting reality." Memories themselves have a bit of forgetting, and we can't forget them, but time always shatters the past.
"Sunny Days" is indeed a special banner of domestic movies. It is difficult to see such blurred pictures, such a rich three-dimensional sense, and such a unique youthful texture. I think it is difficult for today's youth movies to match. I watched Hu Bo's "The Elephant Sitting on the Floor" before, and I felt that the texture was excellent. Although the two cannot be compared, it finally contributed a different style to this era. Also, every time I watch "Sunny Days," I feel like it's very similar to "Once Upon a Time in America," another movie I love. They are all from a male perspective, they all have juvenile chivalry, and they all have a woman who teaches men to grow up. They are all memories of a multi-sensory past.
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