The opening chapter focuses on exaggerating the spirit of Liu Ye. He stands in an old Beijing hutong with a godfather attitude. He does not use force easily, but defends his dignity with "rules" and "reasons". Police and lawbreakers respect him three points. . Without rules, a circle cannot be formed. The rules left by the ancestors are the inheritance of the ancestors' culture and the bottom line of people's daily behavior, which binds people from generation to generation. Today's young people don't care about these anymore, and the civilization in the rules is what modern people lack.
Six masters, Xiaofei, son, and self all constitute a situation of confrontation between old and new. Although he has been using "rules" to speak, he seems pale and powerless under the giant wheel of the times: the old rivers and lakes emphasize rules and feelings, while the new rivers and lakes have no sense of proportion and courtesy, and the two are bound to conflict. The white-haired old man in the hutong played by Guan Zongxiang may also be the previous generation of Liu Ye, who respects him very much. However, the younger generation of today lacks this kind of etiquette and is disrespectful to their ancestors everywhere. From the very beginning, the director gave Liu Ye and Xiao Fei two completely different gangsters: diehards and rebels. Their factions are also different, one is that one side is in trouble and all parties support, for others and oneself; But after the story develops to the middle, the ambition of the director is obviously not satisfied with this. The over-centralized new society is trampling on traditional Chinese values. Since then, the old guns and the new guns have been twisted into a single rope to compete with this centralized society.
The restoration of the father-son line serves as a threading thread in the storyline. After the child becomes an adult, the lack of the mother and the bad habits of the father make the relationship between father and son increasingly fragile, forming a estrangement. Both parties maintain their own face, refuse to communicate and make concessions, and the relationship cannot be resolved. However, because of this "tied" incident, they both pointed out the way for each other, and they became a rope to reach a unity in the concept of family. Aunt Xia's matchmaking is a natural contribution, and to a certain extent, she has also become a semi-substitute for the missing wife and mother of the father and son.
Lian Po is old, can he still shoot? The director used an old gun and heart failure to describe Liu Ye's powerlessness, which is his powerlessness in the face of a body that is no longer young. The setting of winter also has this meaning. The first is to focus on artistic conception. The snow and the frozen lake are the end of the four seasons. The way of expression is very characteristic of the writing of Chinese classical novels. Ice and snow are drawn in line, and the minimalist brushstrokes are used to render the tragic heart of the characters. The sixth master put on his saber and stepped on the road of duel, using the great wind and snow to set off the tragic atmosphere of embarking on the road of resistance, adding an atmosphere to the heart of the characters. After setting off the majestic momentum of "Decisive Battle Moment", it ends abruptly with a tragic ending and the top shot, which is both reasonable and embarrassing. Liu Ye has become an out-and-out "anti-hero" - a number of "anti-hero movies" emerged in the United States in the late 1960s and early 1970s, such as "Midnight Cowboy" and "Easy Rider", which used the protagonist. The change of mind of "dissociation-confrontation-self-confirmation-failure ended" to express their helplessness in the face of social or era changes. "Old Pao'er" is essentially about the disappearance of the old rules and the helplessness of submitting to the new era, as the old generation criticizes the new society without rules. On the other hand, as far as actors are concerned, there is also a feeling that powerful middle-aged actors are being replaced by new-generation young meat stars.
The character Liu Ye completely abandoned the black-and-white in the past domestic gangster films that praised or smeared gangsters, but focused on their living conditions, which I deeply like. In the film, the captive ostrich is meaningful. It finally escaped from the city and gained a moment of freedom, but the city is not its home after all, and it also corresponds to the confusion of the old cannon in the hutong under the alternation of old and new. Imagine the end of the ostrich, it is either crushed under the chaotic wheels of the road, or it is locked in a cage again, and it will never be truly free.
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