Although the argument of "bystanders is clear" makes people believe that outsiders may see unique perspectives that people inside cannot see, the most accurate grasp of a country must come from the people inside and from the life of flesh and blood. itself. The French have the historical experience of colonizing Vietnam, but the Vietnamese people in "The Lover" still lost their voices collectively and failed to get a vivid outline. Not to mention Vietnam, which was captured by an American, a frustrated passer-by. Whether it is a radical or deeply anti-war film, the image of Vietnam will always be that of an extremely dangerous tropical jungle walking in the middle of it and dying at any time.
When Vietnamese films return to the public view for the second time, it will be the well-known Chen Yingxiong, and then Tony Bao, especially Chen Yingying's "The Smell of Green Papaya", making the dark and damp Vietnam full of traps everywhere. , it brightened up for the first time, the vegetation was verdant, the papaya was fragrant, and the toads came and went freely in the small courtyard in the rainy season... But just like a kind of absurd fatalism, the identities of Chen Yingxiong and Tony Bao are French Vietnamese. And American Vietnamese, it happens to be a continuation of the perspectives of the two countries. Although Chen Yingxiong (Tony Bao immigrated to the United States when he was two years old)’s personal experience can be closer to Vietnam than pure Western intervention, don’t forget them. Looking at Vietnam's attitude is actually a kind of nostalgia or a second creation of wanderers' souls to their homeland. From this perspective, it is easy to understand the harmonious coexistence of poetry and violence in Chen Yingxiong's films. Once any suffering enters the memory The category will become more poetic and happy, because its hazy beauty comes from being out of focus.
The beauty of the estrangement created by this unavoidable distance is limited in that you cannot use such brushstrokes to write history, but if you use it to express emotions, it is still a good way. Tony Bao's "Three Seasons of Love" basically chose such an angle by coincidence.
The film is divided into three obvious clues, the tricycle driver and her favorite prostitute Lian, the lotus-picking girl Xin and a sick poet, as well as the street seller Woody and an American looking for her daughter, it can be said that this is not legendary. For a few people, their lives do not have any ups and downs, the persistence of loving someone, the anxiety of owed someone, the desire to help someone, everyone is doing things from their own inner demands, the director has almost no Intervened, did not comment, and did not have the grand theme of shooting the epitome of the Vietnamese nation. Even the incision that is extremely easy to make far-reaching meanings such as the American search for a woman is only a brushstroke. All stories completely return to the characters themselves, if not the final The tricycle driver's beloved girl appears at the intersection of the red maple leaves, so the sense of authenticity will last forever, but the author's poetic feelings play a role again. This set of exquisite and beautiful shots makes the girl wear a Vietnamese traditional dress. The long white silk dress crossed the mark of their own life. (But don't deny that this is the most heartwarming bright color in the whole film)
So although "Love Three Seasons" has as little personal intervention as possible to interpret a possibility of civilian life, it still fails to get rid of looking at a group of people from a distance. The tourist mentality of people, if we do not consider it into the category of national films, just as a heart-warming little story, there is no doubt that it has done quite well.
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