Xu Anhua, who made the first furnace of steel, can be said to be a filmmaker in the center of the storm before.
Some people say that in any case, it is impossible to understand that "The First Incense", which has Du Kefeng's photography, Wang Anyi's screenplay, Sakamoto Ryuichi's soundtrack, Kwong Zhiliang's editing, Wada Emi's costume design, and Du Duzhi's sound effects, can be funny like this.
The feminine and sick Qiao Qiao in Zhang Ailing's original work turned out to be a sunny and strong fitness instructor who could run ten kilometers in one breath.
Zhang Ailing's original work is clever and clever, but it is not human, and Ge Weilong, who fell step by step, let people enter the drama "How Much Do You Know About Flowers in Dreams" in a second.
The old treacherous Situ Xie turned out to be Fan Debiao, who went south to engage in business.
As soon as the male and female protagonists flirt, the audience laughs.
Probably many people do not think that when they go to the cinema to watch a movie, they can see the happy atmosphere of the family. I almost couldn't help but pat the strange audience next to me and say, "It's so funny, hahahahaha."
To say "your most amazing movie-going experience", this movie must contribute a lot of examples.
So for example, Xu Anhua's late festival is not guaranteed, Xu Anhua is a talentless Wenqing, Xu Anhua is not worthy of the Venice Film Festival Lifetime Achievement Award... It has become a statement that has been often seen recently.
So can Xu Anhua do it?
It was true that this time it was not, but she was able to do it overall.
As the inaugural issue of Hong Kong Film commented:
"The slogan of equality between men and women has been shouted for many years, and the film is still a male-dominated world. In the nearly 30s of Hong Kong films, there was always a frank-eyed Xu Anhua standing silently in the pile of men - filming was not fast, and he could not make any big money, but he was willing to make movies. Although there are many achievements in the work, in Hong Kong, even in Asia, there is hardly a female director to match. ”
All in all, with her, we are able to find a valuable perspective of "women seeing themselves" in the medium of great public influence in film, not just the "female world of male perspectives" created by female directors immersed in male directors/male perspectives.
Thinking that women talk about love in depth, they must have to beat a fetus to prove love/hate and show their hearts:
Women will always hurt themselves for love hysteria, and they will always grow rapidly after being hurt:
She can't be emotionally indifferent, and she can't just focus on herself.
When such a "female image from a male perspective" is overwhelming, it is difficult for women not to ask themselves:
"Am I really a woman?" How come I haven't experienced this, and I haven't thought about going through this?"
"Or should I act more bitterly the next time I break up?"
"I haven't hurt myself for him, do I count this as love?"
This is the problem posed by a single male perspective. They are always irrepressibly trying to make everything related to women appear to be dramatized, and they are blind to the general state of women.
The most frightening thing is that even her unpleasantness and discomfort will always be regarded as an aesthetic object.
For example, we often hear people say, "She looks so cute when she's angry," but we've almost never seen anyone say that about men.
I believe that no one will feel that it is a good thing to be described as "neurotic". But in Woody Allen's films, beautiful and neurotic female characters are repeatedly the focus of aesthetics.
For example, in "Blue Jasmine", Jasmine, played by the Great Demon King. Tall, elegant and very beautiful.
Due to her husband's imprisonment and suicide, he became destitute and had to turn to his sister.
In this low period of life, while coping with many problems in real life, she constantly tells the various moments of her past life.
Her husband cheated on her and betrayed her, and his son left her after the incident.
Only her sister reached out to her, but her sister is also portrayed as a humble love brain, always falling in love with all kinds of unreliable men.
What happened to Jasmine was obviously a devastating blow to her.
But the romantic tone of the whole film, as well as the deliberate performance of her neuroticism and beautiful appearance, inevitably give the audience such an illusion. That is— Jasmine's fall to today is more or less her fault, and these encounters are not a big deal for her.
Ashley, played by Ellie Fanning in "A Rainy Day in New York", is a positive and enthusiastic literary young man.
On the way on vacation with her boyfriend, I met my beloved director and screenwriter and got an interview. Yin and yang, involved in a romantic relationship with a big-name male star, but happened to meet the latter's girlfriend home.
Ellie Fanning, wearing only her underwear, was locked up outside in a rainy shower, panicked and embarrassed.
At the same time, the soundtrack is witty and cheerful, and the picture is very retro and beautiful.
In "Love in Rome", Anna, a prostitute played by the great beauty Petrup Cruz, is also put into the same logic.
In the film, she is portrayed as an otaku mentor with the confidence of a fan.
She always seems to be beautiful, sexy, bold, and at the same time very out of place, and her speech is always eye-catching.
At the same time, the film also has a special two-minute schedule to show her constantly coping with the embarrassment of being recognized by the old patrons during the party.
Do you feel it, this is the male perspective. As long as he wants, everything about women can be an aesthetic object or ridiculed to some extent.
He performed, he recorded, he listened, he even seemed patient and sincere. But for the encounter of female characters, it always maintains a kind of detachment from the other side to watch the fire.
Curiosity's interest always outweighs the concern and sympathy for the fate of women themselves.
So we can see that Woody Allen, after filming "Fools Make a Splash in Science City", will say to reporters:
"I often aspire to play the various women I write about, who have the right to be 'emotional, scathing, and flirtatious.'"
As a woman, it would feel awkward and even offensive to hear this sentence, but Woody Allen took this as a compliment to women.
In "Auntie's Postmodern Life", Xu Anhua also created a rather dramatic female character, that is, The Aunt Ye Rutang played by Sichengova.
But Xu Anhua did not, like Woody Allen, regarded Ye Rutang's neuroticism as a landscape to enjoy.
Her embarrassment, pain, entanglement, kindness, and seriousness are all taken seriously.
In her later film "Idle Fried Rice", we can more clearly feel the difference in women's perspectives.
For example, it is also a tire-beating bridge section. Anita, played by Zhou Huimin, will consider being an advanced maternal after learning that she has an unexpected pregnancy, which is not the last chance to have a child herself:
The health of the child's father and family will be carefully asked to assess the child's possible health status and decide whether to leave the child behind.
And not just the tangled pain of the fetus, with a seemingly emotional aesthetic close-up shot to express. It was as if this woman had only emotional pain and no physical pain.
The physical examination and care that is very important to women's lives have also been "normal" in this movie. It is neither beautiful nor sad.
As a woman, after reading these works, you can feel a kind of respect that has nothing to do with appreciation and praise. Her life experiences and flesh are real and perceptible beings, not props to satisfy dramatic conflicts and landscapes to appreciate.
Talking to you about this, of course, is not to convince everyone that men can't shoot women well, men can't shoot women's dramas worthlessly, and don't watch male directors' movies in the future.
It is not to say that the works of female directors must be from a female perspective.
Like Li Yu's "Everything Grows", it is filmed from a particularly male perspective:
Instead, I hope that everyone can realize that whether it is Tsui Ke, Wong Kar Wai or Woody Allen. These so-called directors who can shoot women, what they show is actually only "women in the eyes of men" and "women related to men", not the whole of the female world, let alone "women in women's eyes".
Of course, we can appreciate the beauty of the green snake, Su Lizhen, Christina, and the thirteen aunts.
But also be aware of the one-sidedness and limitations of these characters in expressing the beauty of women. And these beautiful images, which obscure the more important issues.
That is, men naturally lack female survival experience, as well as those cultural prejudices against women, so that they will always ignore the deep reasons that make women so easy to panic, and only focus on the contrast, contrast and women's body, appearance and other dramatic performance, visual shock.
Come to think of woody Allen, who has expressed his appreciation for the sense of division in women more than once, he said:
"Women can be both hunters and prey. They are charming and complex, and they should never present male characters as superior to women."
"I appreciate the fickle side of the heroine's personality, her ability to be both an elk and a lion."
But never saw him try to answer, why does a woman always have a combination of opposing qualities, is she herself liked?
From this point of view, if male directors are always irrepressibly, they want everyone to see dramatic women and treat women as aesthetic landscapes. What Xu Anhua did was to let everyone see ordinary but real women, and to reduce women to "people".