sun. The film critic of "Sunny Days"
has a very simple reason for making a movie: "Whether you will make a movie or not has nothing to do with how much investment you have, it only has to do with the director's talent."
However, Jiang Wen is definitely a directing genius. After changing from actor to director, he embodies the group view of rebellious and reflective sixth-generation directors. He has been trying to use bizarre creativity and humorous narration to create a dream kingdom on the screen for the audience, and his kingdom has been built. The first brick of the film is this movie about the awakening of youth - "Sunny Days".
"Beijing, it has become so fast, in 20 years, it has become a modern city, I can hardly find anything in my memory from it, in fact this change has destroyed my memory, I can't tell the difference. Illusion and reality..." An opening remark kicked off the film. In the subsequent films, the narration of Ma Xiaojun, which has been running through, has always maintained a consistent pace with the development of the plot. "I" changes with the fate of the characters, with the changes of the environment, times, and society, making the world on the screen more and more believable.
With the game of throwing schoolbags in the game between Ma Xiaojun and his friends, the innocent and young are thrown into the sky, and the rebellious teenager is next. The color of youth is golden, the season of youth is summer, the taste of youth is bitter and sweet... This is Jiang Wen's interpretation of youth.
The chemistry teacher once told us that in order to prove that there is a huge change, there must be a constant. The fool in the film is for this purpose. The fool with only three lines "Oba, Gulumu, Silly B" exists as a testimony and symbol of that absurd era. When the sun shines on the teenagers playing, the fool who often appears riding a wooden stick is always toyed by Ma Xiaojun, who thinks he is qualified to laugh at his ignorance. As everyone knows, it is actually a fool who is witnessing the absurdity of the young Ma Xiaojun, and the tone is warm. Time flies. At the end of the film, the grown-up Ma Xiaojuns drove a luxury car and met a fool on an overpass that only existed in Beijing in the 1980s. ”, the picture is black and white and gloomy.
Thus telling the audience: "History is chaotic and fuzzy, and the main body of history is just "a fool who scolds himself for being a fool". Jiang Wen used movie pictures to package reality, used a voice-over to forcefully insert it to confuse reality, and destroyed it with fool's ravings Our decades of social history have also used this image subject and narrative center to deconstruct the collective subject of these decades of history in irony, thus completing the mockery and deconstruction of reality.” The
political teacher once told us that all Everything has two sides, and in order to succeed, you must suppress the evil and promote the good. Milan in the film is such a split character. Awakening of love is the key to this film, and there is always a goddess-like figure in the tumult of youth. The goddess Milan is the dizzying dream lover in Ma Xiaojun's telescope. She is so healthy, lively, beautiful, and invincible youth under the sun. The degenerate Milan on the back of reality is swept up in the "Cultural Revolution" trend of anomie, disorder, and frenzy, degenerate, indulging in lust, playing with life and feelings, and a bad girl who often goes in and out of the police station. This kind of split of characters is precisely the split between Ma Xiaojun's own ideals and reality in the specific era of the "Cultural Revolution".
At the end of the film, Ma Xiaojun's failed attempt to forcibly take possession of Milan, while performing a cruel youth rite of passage, also indicates that the ideal dream has been shattered by the harsh reality.
Music teachers once told us that music can relieve or eliminate the pain of patients. The movie may only be watched once, but the music in the film can always be heard over and over again for a long time. "Country Knight" is a healing movement. When Ma Xiaojun was like a cat on a hot tin roof, patrolling these almost deserted but gorgeous roofs all day long, he was accompanied by Gu Changwei's highly contrasting yet compelling picture, accompanied by the sound of Mascari. The Country Rider. This is undoubtedly the most moving scene in "Sunny Days". Ruined buildings, lyrical rushing music, lonely teenagers, strong sunlight and unfathomable shadows, between the blue-green sky and the brown-gray buildings, there is no difference at all. The boy who knew what the future would be like, indulged in his own chaotic thoughts. But the new world in the future has already revealed its first appearance in a grand and grand manner, such a vigorous youthful atmosphere, chaotic and restless, and full of solemn joy. Jiang Wen seemed to be standing beside a pile of historical dust, speechless.
In "Raging Bull", Robert De Niro held his sad and sad face, and when he punched alone, the "Country Rider" interlude sounded; in "The Godfather III", in In the Opera House in Palermo, Anthony also performed "Rider of the Country", and when the godfather Don Michael Corio died alone in his chair, the interlude of "Rider of the Country" lingered in his ears. Such a sad tune, but with its surging interpretation, turns grief and anger into strength and hits people's hearts directly.
There is always a shadow behind the sun, but it also confirms that the shadow is in front of the sun. Jiang Wen opened an iconic door to his directorial career with "Sunny Days", winning the Taiwan Golden Horse Award for Best Director for his first film. Pulling away from the story and returning to reality, we may be able to appreciate the sentence in the film: "How strong is the desire to tell the truth, and how great the various disturbances are. My sad discovery is that it is impossible to restore the truth at all."
ps : Drawing on the movie reviews of netizens and "The Tenth Screening Room"
View more about In the Heat of the Sun reviews
