As the screen debut of post-90s director Wei Shujun, "Mustang Mane" was released with various awards, which made me look forward to it from the beginning.
Yesterday was the first day of the film's release, and there were a few people sitting in the cinema on Friday night, and everyone was vaguely a bit of a literary youth, which made me very worried about the future of this film.
There was also a couple in the same row, and when they saw about halfway through the progress bar, they walked away without looking back.
To be fair, the team's professionalism in Mustang Mane is really good, from the actors to the story to the shots to the aesthetics. Every character in the movie is very interesting. There is not a single real bad guy, but everyone is running in a completely different direction.
The male protagonist Ah Kun, played by Zhou You, is a half-student and half-social person. Standing on the watershed of life, it is obvious that he needs to quickly complete the stage of social transformation, but his inner personality is a person who is as free as a wild horse.
He is not very convinced of everything, a little capable, full of miserliness, will engage in some bad things such as skipping class and re-practicing petty theft and driving without a license, as well as goodwill and right and wrong, the advantages and disadvantages are very distinct.
The character itself is actually very real. He's the kind of young man you've seen more or less around you.
Zhou You's interpretation is also worthy of his Pingyao International Film Festival Fei Mu Honorary Best Actor Award.
Ah Kun's girlfriend Ah Zhi is a woman with a holy light on her body. Facing graduation, she worked hard to earn money and saved money, longed for stability, and gave great tolerance to her boyfriend's various for a long time, and even lent money to the male protagonist many times to fill in various pits.
But such two people, no matter how much they love each other, at that stage of the watershed in their lives, the differences in the three views make them can only go their separate ways.
Ah Kun's heels are dead party children, typical of the fat house of "what to do and why can't do rice first". Work is always dragging its feet, and falling in love is less rooted, but she honestly sold her mobile phone to get a fake driver's license for Ah Kun.
That kind of sincere stupid friendship without strings attached to the heart and lungs is also quite moving.
Although Hai Ge, a paint merchant who changed his career to become a singer, accounts for a small proportion of the story in the play, it is actually very important. Rich people want to engage in art, and really give him three albums, known as "100 songs and 100 poems".
The eldest brother is neither professional nor aesthetic, after experiencing countless "every time deceived, when the time is different", at the end of the movie, his pile of joke-like bad songs actually caught fire.
My personal feeling is that Hai Ge is the most absurd character in the whole film. The absurd success of the amateur three-legged cat character is in stark contrast to the male protagonist's excellent but real-world failure in the professional field — especially the moment when he hears Haige music in the taxi at the end.
The film's film director Amin, actress Irene, etc., all seem to be full of grooves but certainly not evil. Everyone brushes together and lives in a complex and typical, strange way. From a certain point of view, this can also be regarded as a kind of goodwill and tolerance in this era.
The male protagonist has been on the car and driver's license bar since the beginning of the movie, and finally was detained because of the car and driver's license. The logic and details of the whole story are handled well, the plot echoes back and forth, and the structure is no problem.
But I don't know why, but after reading it, I always feel that something is missing. The overall presentation does feel like eating a bowl of raw rice. Thinking about it carefully, I feel that this work is actually very similar to the appearance of this era-
Everything is not too bad,
But there is nothing that has to be chased deeply;
Distant and dreamless,
Can't satisfy the adrenaline-pumping passionate yearning of young people;
There is a wonderful tolerance for outliers and personalities,
But everywhere there is a strong desire to vent...
To tell the truth, if the audience is older than ten years old, seeing this kind of story with a little disease-free moaning suspicion, they may not be sure how to swear and grin.
But it's not as old as that. Personally, I think young people are at that age, and this is okay.