"Seventeen-year-old bicycle": The war caused by a bicycle involves the goddess Gao Yuanyuan and Zhou Xun This movie tells the story of the war related to dignity that broke out between two teenagers because of a bicycle, and also left the most beautiful youth of the two goddesses Gao Yuanyuan and Zhou Xun. A bicycle, involving the story of two teenagers. Their obsession with bicycles is different, but for them, bicycles are a status symbol, a sense of social identity.

Seventeen-year-old Bicycle is a feature film directed by Wang Xiaoshuai, starring Cui Lin, Li Bin, Gao Yuanyuan, Zhou Xun and others, which premiered at the 51st Berlin International Film Festival in 2001.

The film mainly tells the story of the protagonist's adolescence, and the overall narrative style and picture rendering of the film are all gray and dark tones, which make people feel depressed and uneasy inside. However, the profound meaning contained in "Seventeen-year-old bicycle" is worth recalling and thinking about.

At the beginning of the film, the protagonist of the film, Xiao Gui, a rural teenager, is introduced with the lens of applying for a job, with a simple and generous face, full of local atmosphere. As the film unfolds, the audience seems to have walked into the city of Beijing in the 1990s. The rural teenager Xiaogui finally earned his first Merida bicycle by sending couriers.

At the end of the last century, China was called the "bicycle kingdom", and the bicycle, together with the radio, sewing machine and watch, was called the "four major pieces". The Merida brand bicycle was founded in the 90s of the last century, owning a Merida bicycle, which was a fashion and trend at that time.

However, life gave him a hard blow - the little expensive bicycle was lost. After coming out of the hotel, Xiao Gui was dazed and looking for the bicycle that belonged to him. The traffic and bustle of the city are still running, and they are not affected by the tragedy of this ordinary person.

From the remote and backward countryside to the city of Beijing to work hard, Xiao Gui is undoubtedly brave and self-motivated. He was anxious to get rid of the label of a rural man, so he worked hard and finally got his wish and had a bicycle of his own.

This bicycle seems to be his pass to integrate into this bustling city. But when the bicycle is lost, Xiaogui also loses his job, without work, life is no longer guaranteed, Xiaogui feels that his survival has been challenged. For Xiao Gui, this bicycle has given him a sense of identity.

After Xiao Gui lost his bicycle, another protagonist, Xiao Jian, appeared. Xiao Jian is a native of Beijing, but his family is poor and belongs to the local people at the bottom of Beijing. Even the low-level people in Beijing, compared with the small nobles who came to the city from the countryside to work, can still have a sense of superiority from the bottom of their hearts.

Under the yin and yang, Xiao Jian bought Xiao Gui's lost bicycle in the old goods market. After Xiao Jian owned the bicycle, it can be described as "spring breeze triumphant horseshoe disease", he has face in front of his brothers, and he has the capital to play handsome in front of the girls he likes. The bicycle gives Xiao Jian a sense of belonging, so when the bicycle battle breaks out, Xiao Jian becomes the same "shaft" as Xiao Gui.

In his book "The One-Dimensional Man", Márquez proposed the concept of "false needs", arguing that false needs are manifested as the soul being possessed, society being enslaved, and false needs are extremely harmful, which causes people to become "one-dimensional people".

The protagonists in the film, Xiao Gui and Xiao Jian, are both "one-dimensional people", and the typical characteristics of one-dimensional people are to fully acknowledge the rationality of reality, and give up the criticism of society and the pursuit of ideals, and lose their own freedom of will. In order to integrate into the city, Xiao Gui only cares about hard work, and does not give up looking for his bicycle after losing his bicycle, which represents his compromise with life.

He has no power, no capital, no freedom to complain about social injustice. In the same way, Xiao Jian's pursuit of bicycles shows the vanity and selfishness of his personality. He thinks that having a bicycle is having friendship and love.

Seventeen years old, after all, too young and young, has not yet stepped into society, is about to be industrialized society gradually grinding away the edges and corners, losing the will to freedom. The advent of the industrial age has made the working class the object of oppression by the capitalists, the class gap is getting deeper and deeper, and the gap between the rich and the poor in society is getting wider and wider.

However, forced by the dilemma of collective action, no one is willing to take the initiative to stand up and say no to the capitalists, because this may pay a blood price.

In this film, the characters played by Gao Yuanyuan and Zhou Xun are all mirrors, ethereal, with few lines and shots, more like a montage, setting off the war between the two protagonists.

Gao Yuanyuan plays Xiao Xiao in the film, a high school student with a pure and moving appearance, and Xiao Jian's classmate. Xiao Jian got a bicycle and was with Xiao Xiao. When Xiao Jian did not have a bicycle, Xiao Xiao was chased by another boy with good driving skills. At the end of the film, Xiao Jian filmed Xiao Xiao's new boyfriend with a brick and vented his emotions.

And Zhou Xun plays the role of Hongqin, who generally plays soy sauce when he appears, which is a veritable soy sauce. She wears a glamorous red dress, wears mature and feminine makeup, and is full of girlish spirit. Hongqin walked gracefully, and the high heels rattled, knocking out ripples in the heart of the young Xiaogui.

However, as the plot progresses, Hongqin is exposed to the deception by the hostess. It turned out that Hongqin was a small nanny who went to the city to work, stole the hostess's skirt and stole the hostess's cosmetics. In this vast city of Beijing, everyone is disguising themselves and wanting to look better in order to fit into this fast-growing city.

Everyone's youth has had a time of confusion, ignorance, and wandering, and the pain and fragmentation of youth may be expressed through external materialization, and the bicycle is this external performance in "Seventeen-year-old bicycle".

Living in the 21st century, we should always reflect on ourselves. In the bustling and bustling city, we should maintain a sober and independent heart. In a materialistic developed industrial society, we cannot blindly pursue material things and become material slaves. You should recognize your true needs, seek your own existence, and realize the value of life.