In fact, the background of the story is very simple. The three children, in a world where adults are temporarily absent, built by the director, mourn their grief and laugh at their laughter.
When I was wiping my tears and planning to write something, I found that my imagination was no longer enough. I had to list some key words so that I could barely record anything. I am very sad, it turns out that I have been farther and farther away from that blue door. . . . . .
About "Blue Doors". . . . . . .
In the film, the concept of the blue door is brought out in Meng Kerou's flat tone at the end of the film. ——"So I seem to see that after many years, you are standing in front of a blue door, the sun at 3 o'clock in the afternoon, you still have a few pimples, you are smiling, I run to you and ask how are you? You nod." This is a movie about the petty and sweet troubles of growing up. It doesn't use a lot of tricks or gimmicks, just a simple and clean background, a radiant smile and such a few words, it has completely defeated me.
First of all—the blue door is a door to growth for a teenager, a door that separates the adult world from the youth world. The door was not far or near. Whether you want to or not, you have to slowly approach that door and walk through it into the adult world. On this level, the world the director builds in the film is a world that is almost inside the blue gate, where all adults are almost absent. In such a world, the three children originally only have exams, further education, sports, and plain colors. Uniforms, lunch boxes, beaches, and the world of clear blue sky, because of the emotional encounter between the three people, that memory became a trill in their growing process.
Secondly - the blue door is also a door of youth that adults have already walked through, and it is impossible to walk through it a second time. In the film, in fact, there are no adult characters at all. The only two adults who were blurred, one was a physical education teacher, and the other was Meng Kerou's mother. In Meng Kerou's monologue at the end of the film, she said - "Three years, five years, or more, what kind of adults will we become? Is it a physical education teacher? Or my mother?" In fact, today's sports The teacher may have been Zhang Shihao back then, and today's Meng Kerou's mother was once Meng Kerou or Du Yuezhen. In those youthful days, they were happy, troubled, flustered, transformed, and grown, just like the three little guys today. But they crossed that blue door, and so they entered the world of adults and fulfilled their duties and responsibilities as adults. Gain growth and lose all the good and bad things of youth.
Here, the director sets a gate to the mutual exploration of two worlds separated by people. Teenagers want to explore the world of adults. For example, Meng Kerou asked her mother very plainly: How did you live in the years when Dad was gone. And adults are also eager to explore the world of teenagers. For example, Meng Kerou's mother asked Meng Kerou cryptically: Are you lost in love. There is a very interesting confrontation here, the two worlds are exploring and watching each other, what has not been gained and what has been lost. equally precious.
Finally - the blue door marks Meng Kerou's standard definition of love. The movie is so often classified as gay and I decided to spit once I saw it. Meng Kerou has always liked Du Yuezhen. She rejected Zhang Shihao's confession. On the one hand, she couldn't hurt Du Yuezhen, who liked Zhang Shihao, and on the other hand, she didn't know if she could like boys. So in the definition of love, Meng Kerou is wandering and vague. The blue gate more symbolizes the standard definition of love in the context of an adult's morality. Meng Kerou knew this standard definition and tried to correct it. At the end of the film, it doesn't reveal what kind of result Meng Kerou's final correction has, but she tries hard to get close to this standard definition.
About three teenage characters. . . . . . .
The three teenage characters in the film all recognize themselves as people inside the blue gate. They are eager to grow, and they are afraid of growth. All three are like this, but each is different. Meng Kerou is a stubborn and open flower that is slightly damp and dark. She is also charming, but silent. Her understanding of love and growing up is the most profound among the three; Du Yuezhen is more like a child with no worries, she is a little cute. The carefulness and her vague definition of loving a person make this character suspended outside the first person and always serve as the background material for the development of the story; Zhang Shihao is my favorite character, the bravery and sunshine of those teenagers in him, in that summer's In the afternoon, with that cotton floral shirt, bicycle, blue sky, and a bright smile looking back, all the definitions of youth were frozen at that moment.
Facing the obstacles they face on their different growth paths, they stubbornly and simply express their throbbing and struggle. They stood on one side of the door and stared nervously on the other side of the door. Among the three characters, Meng Kerou's character is the one with the richest psychological level. She likes Du Yuezhen as well as Zhang Shihao. She is in a situation where she chooses no one that meets her and others' requirements. Choose Zhang Shihao? Du Yuezhen will be sad. Choose Du Yuezhen? She clearly likes Zhang Shihao, and she can't like girls.
I like to play Meng Kerou's Gui Lunmei. She doesn't have the beauty to aim at, but the faint smile on the corner of her mouth and the stubbornness in her eyes are unforgettable.
The end of the film is actually open-ended, not giving a clear answer. It's just in Meng Kerou's words about the agreement of the three people to meet again at the blue gate, and finally the scene where Meng Kerou wrote crookedly on the drawing board: "I am a girl, I love boys". Will they meet in the thorns of growth? Does Meng Kerou like boys or girls? Will Zhang Shihao still have a bright smile on his face? Is Du Yuezhen still cute and collects Coke bottles from anyone she loves? We dare not think, there are too many answers.
Youth and some small props about youth. . . . . .
I don't remember who used the metaphor. It is said that there is a ferry in the river of life. Even if you are far away from him, you always want to keep getting closer to it. This ferry is called youth. The ferry never moved, it was us who moved. We have no choice but to get farther and farther from this ferry. Therefore, youth is never old, only us are old.
Youth is sweet as honey, I would like to pick it up often. Youth is mellow like wine, I wish I would not wake up drunk. - This is Tagore's youth.
Youth is a scary thing, a stage trampled on by children in high boots and make-up. They were on stage pretending to say words they knew by heart, words they fanatically believed but half-understood. - This is the youth of Milan Kundera.
If, at the age of seventeen, all you think about is whether you can go to college, you are no longer a virgin, and you can pee in a straight line, what a happy child you would be. ——This is the youth defined by Meng Kerou.
Like a flawless beauty, you can see the brows and eyes of the miserable green boy in a flash.
There are some small props about youth in the film. At the beginning, Du Yuezhen, who liked Zhang Shihao, took the trouble to collect Zhang Shihao's small objects: basketballs - there seemed to be the smell of gunpowder smoke when Zhang Shihao played with others; Zhou's notebook - Zhang Shihao's words - the writing was so ugly; ball pen - - Zhang Shihao's, if you finish writing that person's name with this pen, he will like me; . . . . .
At the beginning, Zhang Shihao was riding a bicycle and wearing a blue floral shirt and flashed amazingly on the screen. That blue floral shirt fluttering in the wind deeply fascinated me.
Some of my favorite scenes. . . . . .
The narrative pace of the whole movie is very good, I am generally afraid of watching movies that drag. Especially for the sensationalism of a small climax, I have to accumulate a lot of scenes on the layout of emotions. No matter how tear-jerking music is used, no matter how hysterical the actors are, I will press fast forward. I'm also disgusted by the fact that the director made some scenes that I found interesting to save film too much - but, in the context of the director's filming of 2 and a half hours, or 3 hours, these situations are generally rare.
I feel good about this movie. No procrastination or sketchiness.
I like some scenes.
Du Yuezhen and Meng Kerou, who wore Zhang Shihao's head, were dancing in their small room. So happy. But you can see that Meng Kerou's expression is out of tune and a little cold. This paved the way for later revealing that Meng Kerou likes Du Yuezhen.
In an encounter between Meng Kerou and Zhang Shihao in the swimming pool, Zhang Shihao asked proudly: There is no Du Yuezhen at all, do you like me? At that time, Zhang Shihao's slightly squinted eyes, grinning mouth and smug smirk were really cute!
Having said that, I want to mention that the paranoia of adolescence is like in the above shot, Zhang Shihao kept repeating that sentence, over and over again.
In the first half of the movie, Zhang Shihao introduced himself mechanically as soon as he saw Meng Kerou: Hello, my name is Zhang Shihao, Scorpio, O-type, swimming team, guitar club!
Meng Kerou kept repeating that sentence in order to make sure that she could really like boys: Do you want to kiss me?
After Zhang Shihao knew that Du Yuezhen really existed, he yelled at Meng Kerou over and over again in a fit of anger: What the hell do you mean!
These repetitions not only do not make people feel that the lines are pale, but they are full of fun. Especially Zhang Shihao's sentence: "Hey, my name is Zhang Shihao, Scorpio, O-type, swimming team, guitar club!"
The background of many scenes of Meng Kerou and Zhang Shihao is that on the road full of traffic, two simple children, riding bicycles, compete with each other in anger. The traffic flow in the background is symbolized, and at a street intersection, they are all overwhelmed by the symbolized traffic flow in the background. The symbol here is that they will finally integrate into the adult world in such a way that it is in line with adulthood. Human standards, follow the rules of adults. In the moment of annihilation, the two looked at each other. No one speaks.
Although I close my eyes and can't see myself, I can see you. . . . . . .
This is the last thing Meng Kerou said. She closed her eyes and couldn't see herself, because she needed to redefine herself when she approached the blue gate. In fact, it is not only Meng Kerou, Zhang Shihao and Du Yuezhen. All children who need to cross the blue gate must redefine themselves at the moment of crossing. metamorphosis. Enter new groups. Become someone like a gym teacher or Mama Meng. away from youth. grow up.
One summer afternoon, I bit my fingernails and burst into tears after watching such a movie about the trivia of youth on a summer afternoon, which made me a little annoyed. Because, I didn't know when I crossed that door, and I didn't even feel the slightest bit.
While typing, I was listening to Faye Wong's "Hypnosis". The phrase "the taste of the first bite of cake" is literally tailor-made for this movie. The taste of the first bite of the cake, how did it taste? You didn't know it until you tasted cakes when you were a teenager.
We have grown up? We are also growing up. We also close our eyes, we can't see ourselves, but we can see those who have grown up like me. Standing in front of a blue door, the sun at three in the afternoon, a few pimples. . . . . . Walking past with a smile, behind him, the blue door was closed abruptly, and it was no longer open to us.
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