Among all the classic love films, Chinese-style implicit and simple love makes people shine, because it contains the unique aesthetics of the orientals. My Mom and Dad is about the love of such a China family. The clean composition is full of the charm of oriental love. My mother, Zhao Di, has a crush on a simple young teacher. After experiencing initial shyness and ignorance, they fell in love romantically and traditionally, but it didn't last long. Father returned to the city, and mother Zhao Di began a difficult wait.
The agreement between them passed quickly, and the mountain road was blocked by heavy snow. At the end of the road, my father disappeared. Zhao Di was determined to drag her sick body on a long journey to find her first lover, and finally fainted halfway and was sent back by passers-by. The moment she woke up, she heard the most beautiful voice in the world: she was lying in her hospital bed, and big tears rolled down happily ... they never left, and they loved each other for forty years. After her husband's funeral, the old woman saw her son teach the children to read like her father. Suddenly, the figures of her son and husband changed in her eyes. In front of her eyes, there appeared a light and smart girl in the mood for love, dressed in a floral red coat, jumping on a path that made her unable to finish her first love.
The film My Mom and Dad tells the deepest love theme with the simplest story. The picture of Zhao Di running and chasing in Shan Ye is the light and shadow at the core of the film. Against the beautiful background, the breath of natural life is moving, which may be the real reason why Mom and Dad changed from ordinary to classic.
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Second, Zhang Yimou's love sacrifice —— A brief analysis of the film My Father and Mother
Zhang Yimou is the most connotative film director in China, and Zhang Yimou's film is also one of the most readable films in China (this kind of film is rare in China). Looking at Zhang Yimou, who has been heated by No Child Left Behind, his smile undoubtedly shows that he is the biggest winner.
Zhang Yimou's proud mood makes people feel liberated, relaxed and mature from the heart; So, I can't wait to see Zhang Yimou's new film. There is a D version of DVD for sale under the huge poster in the cinema. When asked, it was a "gun version", refusing sensory persecution and insisting on watching the DVD version again.
I happened to go to the Great Hall of the People to see a movie. My parents were the first ones.
My Mom and Dad can be said to be a poetic film, which outlines an ode to love in a space with almost no plot. Like music or opera (whether Turandot made Zhang Yimou feel the chapter of opera more deeply), in a very beautiful love melody, Zhang Yimou sang the love totem in his heart like Champa Varotti, with the notes of the plot and details jumping.
The simple plot of the film is: I graduated from normal university and didn't become a teacher. I went back to my hometown to hold a funeral for my father who was a primary school teacher in a mountain village. My mother insisted on carrying the coffin from the county hospital back to her hometown for burial, so I recalled the love story of mom and dad circulated by the villagers.
The film tells the story of the present and the past in two tones.
Black-and-white tone is a modern educated man. He knows that without the responsibility of society (the state) (investing tax revenue in rural education), it is impossible to change the indifferent, historical and helpless eyes of rural education in China-a once poor environment, now poor, and the love spoken for a period of time make the material world old and empty. Just like a set of shots when I went to my father's primary school to find my mother, the background was the black tile on the roof of the dilapidated school, just like a shrine, which enshrined the backbone we once cherished, but let it be lost. Against this heavy background, the national flag-the resilience of China people-is flying, and it can be seen in the most remote places.
In such a dreary environment, the loom slowly played an aria; Through the doorframe, photo frame and window frame, I saw the dancing love on the altar-
Tone tells the past, legend and truth in my heart. Father is a gentleman from the city, symbolizing the embodiment of civilization, future and love; Mother is a beautiful girl in the village and a loyal pursuer of love.
The film is divided into four actions to tell the story of mother picking up Mr. Wang, delivering pies, eating pies and chasing Mr. Wang. In the beautiful and romantic warm colors, the movement of girls falling in love with spring began. Mother dressed in a new red makeup, wrapped in the crowd in the village, still looks particularly eye-catching; Mr. Wang came from the city and came slowly in a carriage with a youthful belief in spreading ideals. During the casual inspection, two pairs of eyes collided. Then, my mother's heart began to pound, and she ran quickly and happily in the long wilderness. Two braids are jumping in her heart like deer, and her mood is very vivid. She changed her new makeup and picked up a bucket to bypass the well in Qiancun to fetch water. This water and this well have also become the source of love. "Red" has become a sacrifice of love-the metaphor of "red" in China traditional culture is extremely complicated. The second chapter tells how a mother conveys the message of love to her husband, and a "flower bowl"-a token of love-appears in the film. In order to let the grandfathers eat their own "love feast", the mother took pains to show the emotional girl's hard pursuit of love-the pursuit of long shots. On her husband's way home, her mother is either ahead or behind. That innocent face, beating pigtails and winding paths all show the director's persistent desire and worship for women in the love story between men and women, which is different from the rebellious, masculine and fiery love declaration of "my grandfather" emphasized by the director in his pioneering work Red Sorghum. The same moon, this is no longer a green mountain mouth, the same wheat wave, this is no longer a sorghum field; It is not "my grandfather" but my mother who stands out in Mailang, which shows the change of the director's love view-the faithful worship of women's love. The third movement is a happy climax. I can finally meet my husband on the path. The happy mother forgot her "prop"-the small basket, and twisted her happy back in the wilderness until her husband handed her the small basket. The music started and the whole movie was full of energy. My mother began to prepare her husband to go home for pie. Unlike the dark doorframe in reality, it seems to be an angry doorframe in the sun. The "flower bowl" was mentioned again and became a token of love; Different from reality, the people in the picture frame are also vivid and meaningful; Finally, a "red hairpin" appeared as a token distributed by Mr. Love. Chapter four, emotional sacrifice. The ending of love often has problems. The morning after eating "love", I missed the next meal. My mother put on a new red makeup, brought a "red hairpin" and wrapped her love in steamed dumplings, waiting for her husband who suddenly returned to the city. In the face of lovelorn love, the director hopes that his mother will try her best to chase him like Wei Minzhi's No Child Left Behind. In the running and conflict, the "flower bowl" was broken, and another token "red hairpin" was naturally lost. We have to go through constant searching and mending, and finally find the "red hairpin" in our own yard and mend the "flower-clearing bowl" (second time around-can never be separated), while the "call of reading" pushes our mother to the altar of emotional sacrifice, tears off the window grilles full of trauma, puts new window grilles on it again and blows away the dust of the years. . . . . .
The film does not specifically describe the true story of love, but uses a lot of pen and ink to render the truth of thoughts, including ignoring the right and wrong of love, only emphasizing women's call for a loyal return to love, and pushing the film to a climax.
The climax of reality is "carrying a coffin". Different from Ju Dou, Carrying the Coffin (including Teaching Once) is a memorial to one's emotional consciousness, which is particularly vicissitudes in the background of the end of the century.
This film is different from the first two films, and there are shaking shots in many places, giving people an objective vision; The lighting effect of wooden fence in primary school gives people the feeling of crossing time and space; The film is Zhang Yimou's review of himself, showing the scenes, shots and characters of Zhang Yimou's previous films everywhere, as well as his emotional sacrifice to himself, perhaps a deeper desire-emotional return.
Zhang Yimou's movies look smooth, with few technical mistakes, and good plot and details, which are not only strong in film language, but also highly readable in culture.
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