I remember when I was a teenager, everyone was sincere and sincere, saying one thing to another, in the morning at the train station, the long street was dark and no pedestrians, the small shop selling soy milk was steaming, the day was slow in the past, cars, horses, and mail were all slow. , I can only love one person in my life. The locks in the past were also good-looking, and the keys were exquisite and beautiful. If you lock them, people will understand.
——Mu Xin, "Once Upon a Time Slow"
When I first saw the movie, I just thought it was just a film about the reconciliation between father and son, but after watching it, I tasted something else. One point, the fifth and sixth generation directors, especially the taste of the Beijing circle.
Chen Kaige's "The Depths of a Hundred Flowers" and this "Bath" should have overlapping values. If modern society wants to progress, some backward things will inevitably be eliminated. When it comes to this aspect, there are too many topics that can be diverged. I have even thought of people who are still accustomed to paying with banknotes in the mobile payment environment, or that in the post-epidemic environment, there is no smartphone to display. group of health codes. They are also considered part of the gradual elimination of the times.
"Bathing" is in a similar situation. As a representative of modern people, Da'er has a briefcase and a neat suit. He looks talented but his eyes are alienated and indifferent. My father is a representative of the old school, using an aging razor, serving a group of equally gray-haired old men every day, but enjoying himself. Difficult to reconcile conceptual contradictions, waiting to be resolved through the passage of time. Sandwiched in the middle, Silly Erming accompanies his father in the traditional bathing work, and falls into intoxication every time he listens to the songs of Western Pavarotti, like a bridge between two eras. However, bridges are only temporary, things are constantly advancing and rising, and no one can resist changes.
When the film broadcasts to the moment when the excavator knocks down the wall, the ruins in "Deep Hundred Flowers" in my mind overlap with the picture in front of me.
Old objects, old alleys, traditional crafts and people. People will grow old, memories will be wiped out, and craftsmanship will be lost. When the only building that can record the years has been overthrown by the modern torrent, how can it carry history and civilization?
Miao Zhuang, who couldn't sing without water, moved his family, bulldozers razed the houses in the hutong little by little, and it was only a matter of time before the destruction of the bathhouse. Er Ming's perseverance was ultimately unable to overcome the coercion of Da Liu, so he had to walk forward ignorantly and sadly.
The father and son have three rooms, each with their own insistence. The father opened a half-life bathhouse because of his wife's situation. Erming wanted to keep the place where there are traces of his father. Daming was the forerunner of the times. The smooth path of the forerunners can be seen, but the dead and related carriers can no longer be seen.
The film still has Erming as a bridge to buffer the opposition and contradiction between the two. Where is the bridge in reality? The sound of bells in the depths of Hundred Flowers was deafening, and everyone suddenly felt that there were broken regrets beneath the ruins. Destroyed buildings are difficult to restore, and the core of the media after reconstruction is not the same as before. How to retain humanistic warmth in the inevitable changes of society is still a question worth pondering.
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