In the film Suzhou Creek, most of what we see is constantly destroying the beauty of our imagination.
The first to destroy is the beautiful imagination of the Suzhou Creek. In our impression, Suzhou Creek should be as beautiful as a quiet and gentle standard Jiangnan woman, but in the film, we see that the Suzhou Creek is busy and dirty, and on this river, the people and boats that come and go show the uncalm of the Suzhou Creek, and also hint at the unpeace of the plot.
And this disequilibrium came so quickly.
This film is mainly from the perspective of a photographer to tell a twist and turn of love. But what we see is not just individuals, but even more than a generation, but even more authentically, our most authentic state of life. Gain, loss, what is gain? What is lost?
The love between the motor and the peony is the main line of the whole story, supplemented by the entanglement between the beauty and the photographer, the beauty and the motor, thus forming the twists and turns of the film. In terms of plot processing and effect, this film follows the principle of truth: dirty, chaotic, noisy, these factors are fully and truly displayed in the film, making people feel real life, but also making people feel incomprehensible emotions, and even depressed.
This treatment is different from films that cater to the tastes of the masses, but it will make people think more deeply, why should they do this? What is the intention?
The encounter and love between the motor and the peony can be said to be natural, but the next development is unexpected, recalling the identity of the motor explained earlier, it is not difficult for us to understand this result. Originally, this should be a beautiful love, but in this period, it ended with peony jumping into the river. Peony jumped into the river at this time, one is to show her yearning, pursuit and steadfastness of pure love, and the other is also for the plot ambush.
Peony jumped into the river because of the motor's actions, and such a result was not expected by the motor. Therefore, after his release from prison, he looked around for peony, at this time, the so-called love in this period can not be completely called love, more is obsession: the guilt of peony, and peony's pursuit of pure love, let the motor in the subsequent time to remember peony.
In the process of searching for peonies, he found a beauty that resembled peonies. The entanglement between the motor and the beauty, in a way, is that the motor will have this emotional transfer after looking for the peony for a long time without success, but it is not excluded that the motor's inner struggle: if the peony really finds it, will she forgive herself? He doesn't know. Therefore, in the narration of beauty, it is all about the original beauty. The truth, however, is that beneath these good lies the ugliness.
In The motor's narration, Meimei is gradually attracted by the pure and immaculate love of this illusion, so there is an emotional shift with the motor. In Meimei's heart, there is also a desire for pure and beautiful love. So she asked the photographer: If I go, will you go to me like a motor? Yes. Will you always look for it? Yes. Will you always find death? Yes. You're lying. In this dialogue, Meimei actually hopes and desires to envy Mada's love for Peony more, especially after seeing Mada and Peony's corpse, her desire is even stronger. But she was also suspicious, so one morning, when the photographer went to push open Meimei's door, she found that Meimei had left, but the photographer did not go to her as promised. This does not mean that the photographer has no true love for Meimei, not pure, but this kind of plain love, more real, and the love depicted by the motor that Meimei longs for is doomed to be unattainable in her.
In this film, there is also a biggest feature, that is, for the character's lens, in the picture, we can often see the picture of the shaky character, this situation, in the character's emotional intensity is the most obvious performance, through the lens, we can also feel the chaotic mood fluctuations of the scene at that time, the intensity of the emotional change.
In the performance of the characters, I feel that in the conversation between the motor and the photographer, the restraint and the paleness of speech are so obvious that at one time I felt that it was the difference in the actor's performance skills, but I could understand it by subsuming myself into the scene at that time. The motor and the photographer should have no relationship, but because of the beauty and the connection, but this connection is not pleasant, so the communication between the motor and the photographer can obviously feel constrained and defensive.
In this film, the love between Mada and Peony is lost, and in the end, I don't know whether it should be considered a gain or a loss, and the love between Meimei and the photographer is really lost. It is this arrangement that destroys beauty step by step, which makes people feel low and depressed.