One, three points of lightness, three points of transparency, three points of "spirit" of "adult love ukiyo-e".
"Love Myth" focuses on the love, friendship and affection of adults in Shanghai lanes, and this kind of theme is either exaggerated and extremeized by various dog blood TV series, and becomes a collection of mutual tearing routines of "mother-in-law and daughter-in-law and mother-in-law three hundred rounds"; or it is wrapped up as a heavy chicken feather and a sigh.
The former uses extreme changes and routines to harden the dramatic twist, and the latter is more similar to the surrender of the hand after the metamorphosis.
In short, "adults" don't seem to deserve to appear with the words "love" and "spirit.".
The special thing about "Love Myth" is that it is a very Shanghainese, very "spiritual" love "myth".
The "myth" of adult love is naturally inseparable from love and cannot escape "profit".
If you focus too much on the former, it is easy to slide into the unreality of youth idols;
If you are too biased towards utilitarian calculations, you will be too obscure and heavy.
"Love Myth" finds a very delicate balance.
On the cornerstone of the short and alley pyrotechnic gas in the parents, the complex and subtle thrilling words are delicately depicted.
In the film, the WeChat dialog box of Teacher Bai (played by Xu Zheng) and Miss Li (played by Ma Yili) was written and deleted, deleted and edited, asked and waited, waited and watched again.
Repeated torment, delicacy, back and forth waiting for care, sweetness, all in it.
"Love Myth" glimpses the plight of the people in the bureau at a glance, but only gently and cleverly unveils a role, just like Miss Li played by Ma Yili eating a cigarette by the window, the night wind will disperse together; the story is not filled with the powerlessness of middle age, but has a light brilliance.
Miss Li did not say goodbye after one night, Teacher Bai tossed and turned to find out about the residence, under the pretext of sending you an original novel of the drama, and went upstairs, which was forced to go upstairs, which was forced to be taken by stairs, old furniture, broken chandeliers, chattering and scolding the mother incessantly, and the small room at the end of the room.
Just a few shots and a few "background lines" of the mother's scolding will clearly explain Miss Li's past and life situation.
Since then, Miss Li has tutored her daughter in her homework, spot checked her words, and selected words and sentences that are very interesting, such as "regretting doing one thing", etc., and every word is throwing bombs on Teacher Bai's fragile and careful liver.
Frightened, Lao Bai also took advantage of the chaos to draw a sketch, writing about people and heart affairs, subtle.
Since then, Teacher Bai has become a free tutor and a "nanny" with children, and the film talks about feelings through the perspective of children, and the texture is also very interesting.
The streets, alleys, shops, paintings of lao bai, old wu's mouth, and the coffee of the little shoemaker in the film are all suitable and clever and interesting.
Bei Bei describes the crucian carp soup in Lao Bai, the love breakfast prepared by Lao Bai in the morning, and the love mashed after finding the other party running;
The street or the alley, the sun or a window, all have a very strong atmosphere of life, and there seems to be a "mood" everywhere.
This mood is not detached from life, deliberately pretended to be sophisticated, and penetrates in the ordinary rhythm of life, and the texture is very strong under the blessing of region and dialect.
Three points are transparent, three points are light, three points are advanced, and the "spirit" is ah!
Compared with other Chinese films at present, the temperament is even more unique.
Second, the complex world of adults, feelings that are not framed by a single module.
Several dinners in "Love Myth" are very interesting.
From the first "love enemy" Shuluo field to the follow-up old friends game, and then to the final nostalgia game and movie game, the atmosphere is becoming more and more mixed.
At the first dinner, Teacher Bai finally made an appointment with Miss Li and carefully prepared a dinner for the two, but Gloria, played by Ni Hongjie, suddenly killed out, crying and crying and panicking that her husband had been kidnapped.
The famous scene of the three people "Shuluo Field", every problem of Gloria, Miss Li is easy to rationally and slightly disdainful to dismantle;
Gloria was slimy and crying that this didn't work, that didn't work, it was funny.
The so-called kidnappers only demanded a total of 25,000 yuan, and the round-trip ticket from Shanghai to Turkey was more than 10,000;
This bizarre and flawed troublesome thing is particularly interesting.
After that, Teacher Bai's ex-wife Bei Bei came to the door, and a tit-for-tat Ming Han about "leftovers are also robbed" and "wild cats" is also very exciting.
The sword was fierce, and the subsequent story of this group of people unexpectedly became friends.
Lao Wu feels that Gloria's life is empty, covets emotions and companionship, and recognizes Miss Li's heavy pressure, greed for money and conditions, so Lao Wu and Lao Bai have a big quarrel, smashing decades of "can't see but don't tear you down" to each other, and the wind and clouds are noisy and then shoot and scatter.
In the end, it was Miss Li and Gloria who helped Lao Bai and Lao Wu solve the venue problem.
Several of them appeared at the dinner table again, as if they were old friends.
What ex, overnight ex, former love enemy, identity is not important, all kinds of strange past entanglements, can be generalized into the "old friend" of the big wine glass.
The relationship model is clearly very "trendy", even "avant-garde", but at the same time it is very classical and "homely".
A table of people, a lamp, a few glasses of old wine, a story, that kind of intense emotion that is unclear what kind of emotion, there is floating warmth, and there is a homely atmosphere of strange fireworks in the streets and alleys, which is very attractive.
Three, a humorous laugh at stereotypes and prejudices.
Discussions of gender stereotypes and other things can be found everywhere in the film.
Teacher Bai always dislikes and opposes his son's use of cosmetics, and often says that he is "not like a boy."
The argument that "men are not like men", Lao Bai himself is the victim, but he still attacks his son with this set of stereotypes when he turns his head.
The film's criticism, denial and dissolution of this are clearly expressed through the attitude of Miss Li and others.
At the gathering, Miss Li and others and Gloria were very interested in this "beauty expert", waiting for him to "diagnose" how to make skin care.
Even Lao Wu criticized Lao Bai for "you are sexist."
The stereotypical taunt of "no how a woman is incomplete" in the film, from the sentence "A woman without children, life is incomplete", mocks millions of changes, and it is even more wonderful.
Miss Li, who is fierce in the workplace in the story, or Gloria, who is always surrounded by many "good boys" paper drunk fans, are not the stereotypes of "what a regular woman should look like".
As for Bebe, when she said of her ex-husband, "I just made the mistake that men in the world make", and it was particularly effective to say this sentence after gender inversion.
You see, the three women played by Ma Yili, Wu Yue and Ni Hongjie in the story are each very unconventional, but the so-called "normal" itself is not a simple and rough castration or even "foot binding"?
The role played by Ni Hongjie, pretending to be four or two pounds of nonsense, rejecting Lao Bai's "serious" kindness, turning his head back to the sound and color of the dog and horse occasion in the eyes of the dark is true, the emptiness is also true, but this does not mean that all women should compromise to the one-size-fits-all judgment that "no how to be a woman is incomplete".
There is a lot of discussion about stereotypes and women's identity in the movie, and the playing style is also very bold, but it is not dry and blunt.
Appear in the emotional world of the old white who is a little funny and has a hint of "unlucky egg", shining brightly.
Fourth, true or false does not necessarily depend on objective standards, but on subjective feelings.
At the end of the story, the highlight is placed in the old Wu's bragging love, allowing the people in the play to discuss whether that legend has ever happened.
The focus is not so much on exploring whether there is an objective truth as it is on asking about the subjective feelings of "willingness or unwillingness" to believe.
Lao Bai didn't believe it for many years, just out of the obligation of friends, and didn't debunk it until he was forced to fight to the limit.
It may not matter whether the arrival of the "mysterious person" who is inconvenient to disclose is more shocking, or whether lao wu's death has caused lao bai to change his opinion.
Stories can be fictional, but feelings are real.
Characters can be fake, but tears are real.
On a night when the lights were first lit, Lao Wu was in the small courtyard of Lao Bai, talking to his old friends about the unforgettable exotic love.
The storyteller speaks seriously, and the listener cries earnestly.
The lighting is gentle, the crowd is in the play, and the emotions are moving.
Lao Wu said that he had never seen Fellini's "Love Myth" for some reason, and at the end of the film, everyone gathered in Lao Bai's home to commemorate Lao Wu to watch "Love Myth", and once again complained that "this movie can't be watched".
This three-point sincere three-point laughter, three-point drama reflection of the painting style, the handling method is also very clever.
Miss Li said that she did not believe Lao Wu's love story, but the "garbage" smeared on her daughter's white skirt had been painted by Lao Bai into a wonderful painting.
You see, if you believe it, the skirt that is accidentally soiled may become a beautiful painting, a flowing feast.