The most terrible thing in the world is not the immediate punishment, but the loveless future
However, Madame Tang's "lovelessness" may not be the most terrible, but what is even more frightening is "the practice of control in the name of love".
So you ask me what type of film is Blood Guanyin? I think it's a thriller.
Just like the metaphor of the movie title, Guanyin broke his palm, and mother and child broke off their relatives.
It's just that our horror is that no ghost comes out to scare people, but the horror of the human heart.
The human heart is much more terrifying than a ghost.
"Blood Guanyin" opened with a TV director, which is refreshing.
First, the audience's awareness of what they are watching on the screen is strengthened, and the composition of the mirror in the mirror is used to strengthen it again, and finally the audience is guided into the picture of the movie.
On the screen are storytellers, two groups, in the way of chanting songs, to roughly explain the next plot and conflict of the movie.
It seems to be chanting "good and evil have retribution", but it is actually a song that is shocking and shocking.
The place where they performed, at first glance, was a TV station, but the details and tones of the set felt incongruous, which was obviously a prefectural government.
After such a vague area and the speaker's referral, it brings a clear sense of "listening to the story" to the audience.
From the storyline to the character personality, "Blood Guanyin" is a high concentration of heavy taste.
The main line of the story is very simple, the film is set against the background of a Lin family extinction case, and the story of the Tang family of three is slowly told.
In fact, the plot hints very early on that the culprit behind the curtain is Lady Tang.
Therefore, the process of the whole movie is not to solve the mystery, but to expose the relationship between the characters.
No matter how beautiful the flowers on the other side are, it is difficult to change the true appearance of their hellish flowers.
Director Yang Yazhe uses such a story to give the audience a trip to hell and a mirror of the evil world.
Therefore, to understand this movie, we must remember the five words "seeing is not true".
The overall pace of "Blood Guanyin" is very slow, and the drama of human nature and conflict of interest is described in a very detailed manner.
And strictly speaking, its narrative method is not a flat and direct narrative type.
It begins with a banquet of politicians and businessmen, and then gradually pieces together a complete picture of the complex relationship between the characters, interspersed with large and small plots.
The portrait of the general appears a total of 3 times in the film, each time with a different meaning.
Therefore, in addition to the effect of creating suspense, there is a slow tension in the progress of each plot.
Although it is not a direct, obvious, and strong emotional impact, it is a delicate, stable, stacked traction reveal.
In "Blood Guanyin", there is probably only one kind of crying, there are few collapse howls, and most of them are teardrops silently slipping from the corners of their eyes.
And laughter is varied, smiling, laughing wildly, covering your mouth and laughing, hiding knife laughter, laughing at flesh and not laughing...
As far as the script is concerned, this method of disclosure is mainly done through two methods, one of which is the foreshadowing of the conversation.
For example, at the banquet, Madame Wang, the dean, pretended to be a slip of the tongue and said that the three members of the Tang family were three generations, which implied the true relationship between the three of them.
The foreshadowing in "Blood Guanyin" is beautifully done, not ostentatious but in place.
The film borrows several languages.
The first act is a staggered display of Japanese and Taiwanese during a high-pitched conversation at a banquet.
It not only has the characteristics of the Japanese occupation of Taiwan, but also shows the theme of the film.
In the struggle between officials and businessmen, everyone is inconsistent in appearance, they are all seeing people talking about people, seeing ghosts talking about ghosts, each pregnant with a ghost fetus, and being full of false feelings and false intentions.
The second act is the exchange of Cantonese and Chinese languages in Tang Province, making the three women with this sinister means even more mysterious.
Cantonese, as the mother tongue of the Tang family, is like a code language, and only they can understand it.
That is to say, the mother tongue is the words of greeting others, while the Cantonese is the words of the heart and the true face.
Lady Tang, who was actually born as a dance hall lady, came to Taiwan after marrying a general.
Although she adjusted her language and behavior patterns to conform to the status of the powerful.
However, from the details deliberately handled by the director, we can still observe the clues of her past social flower work.
There is a scene in the movie where Mrs. Tang directly turns the wine glass out after toasting the wine, so that the other party can see the empty cup that has been drunk.
This is the behavior of a restaurant girl, and at that time, the famous boudoir atmosphere was absolutely impossible to have such a move.
Through this toast alone, it reveals that Mrs. Tang's habit of being a dancing lady in the past has not changed.
After the death of the old general, Lady Tang could only survive on her own, circling between the powerful and powerful, and was in a situation like a down-and-out nobleman, which also explained why she was so fascinated by money and power.
Another technique is multi-layered storytelling, presenting the same plot in several versions, discussing what the truth is through different perspectives.
For example, Tang Zhen accompanied Lin Pinnipian in the hospital on his deathbed, and in the second version, it became Tang Zhen deliberately killing Lin Pinpile;
Soon after the opening scene, Lady Tang presented a Guanyin statue to The Dean Wang, but for some reason she broke her palm and was busy "blocking disasters".
Madame Dean raised an eyebrow and asked, "What disaster will I have?" "The momentum is compelling, and it also symbolizes the destruction of Madame Wang later in the plot."
There are no extreme differences between these versions in "Blood Guanyin", but the conclusions led out are very different.
The film shows a process of disillusionment.
The innocent is actually evil, love is actually slavery, friendship is actually betrayal, family affection is actually just exploitation, not only the disillusionment of the characters in life, but also the disillusionment of the audience for the characters...
In fact, the maintenance and growth of the Tang Government, in addition to the actual operation of the interests of officials and businessmen, also lies in the search for "successors".
From this point of view, Tang Ning should be regarded as a failed semi-finished product, and Tang Zhen is a new intern.
From this point of view, it is more like a metamorphosis written by Taiwanese society collectively.
Tang Zhen, Tang Ning, and Lady Tang are actually the process of one person's evolution.
From pure love girls to hypocritical adults, from 1980 to 2017, time has revealed that the three generations of the Tang family's old, middle-aged and young people are actually one person.
When he was young, he was very much looking forward to love, but later he became disappointed, gradually confused, and finally obsessed with the desire for power.
It is like showing a parallel process of "love incompetence": from the longing for love, to the disappointment in love, and finally become a person with only himself in his eyes and no love.
To write about women, to write about famous nobles, you have to look at Zhang Ailing.
Life is a gorgeous robe, crawling with lice. ——"Genius Dream" Zhang Ailing
In terms of the drama of the power struggle, "Blood Guanyin" takes women as the main axis, which is worthy of recognition.
There are no men in the Tang family, and the family of three is as closely alike as the women in Tang Ning's paintings, as if they are all just replicas of Lady Tang.
The audience actually wants to see "why Mrs. Tang became Mrs. Tang", and these three people actually represent Mrs. Tang.
The timeline spans the past and the present, revealing the cruel inheritance between three generations.
Towards the end, the relationship between Lady Tang and Chairman Feng was exposed, and various corrupt deeds were pulled back into the patriarchal framework.
This is a very clever point in the film.
Yang Yazhe, who is also a director and screenwriter, mocked the dark design in the film:
"Any of the details of the bridge section inside, you can find in the historical case of Taiwan... There are no new tricks for bad guys, it was loan shark 30 years ago, and it's still the same! ”
With the collusion of government and businessmen and ethnic contradictions, the three members of the Tang family threaded needles between the powerful and powerful.
Mrs. Tang ostensibly runs an antiques business, but in fact works as a "white glove" for political and business celebrities, and the setting of the antique dealer cleverly implies that she regards family affection as a chip.
Mrs. Tang's daughter is her white glove.
When the East Window Incident occurs, it is necessary to break the tail to survive, which is the iron rule of political and business collusion.
If the gloves are dirty, they can only be thrown away, which is the fate of white gloves.
The superiors bribed in the form of antiques, and the countrymen stuffed gold chains into the bodies of fish...
The way of greed for money is different according to class, there are different methods, the rich are just as greedy, but the statement sounds more gorgeous.
Mrs. Tang, who exploits family affection in the name of love, represents a loveless future.
"I'm for your own good!" For Tang Ning, this sentence cursed to ensure the illusory existence of maternal love.
Princess life, bearded body.
The curse of love makes her struggle, and she can only fight through painting, sex, drugs, and sleeping pills.
The lonely Tang Zhen's desire for love, jealousy and belly blackness are interpreted by 14-year-old Wen Qi, who is sophisticated and hairy.
Such a young girl has also been innocent, but unfortunately, the transformation from Tang Zhen to Lady Tang ended in the cruel disillusionment of youth, completing a movement of human perversion.
The difference between Tang Ning and Tang Zhen is shown here: Tang Ning's sending is forced to usher, but Tang Zhen is happy in it.
The corner of Tang Ning is special between the three mothers and daughters.
She sinks but is not willing to do so, and every time she embraces the target man's love, she spits out "take me there", as if she is a love language, which is actually the voice of her heart that she can escape from the current situation to the other shore.
At home, she helped her mother accept the business, but secretly she was reluctant to anesthetize herself with alcohol and tobacco;
In the face of Tang Zhen, whose name is the little sister, Tang Ning is both jealous of his sister's favor and longing for his daughter's closeness.
On the one hand, I want to get rid of my mother's clamps...
She is like a little girl, and the design of the bridge lying on Mrs. Tang's leg is impressive.
One second I was docile like a cat, and the next second I was inconsistent and contradictory.
Another scene that may be easier for the audience to overlook is that she tells Tang Zhen in a calm but ironic tone that she once forgot about her mother's past in a "big pig's head" home in Hong Kong. Although it is not deliberate, it is clear at a glance.
Wu Kexi played such a thousand-faced girl to the slightest, and it is no wonder that she can win the title of "Best Actress".
In addition to the brilliance of the actors, another is that the director's use of the movement of space is very reasonable.
One is Tang Zhen and the other is Tang Ning, symbolizing the pursuit of freedom.
At the end of the movie, Tang Zhen sends Marco away and plucks up the courage to jump on the train "to live like a person".
Thinking that he was born again, he was raped by marco, who seemed to be honest.
It was not just a rape, but also Marco's indictment and venting of social class injustice.
I am reminded of Xiulan Maya's song "Pure Love Youth Dream" at the TangFu banquet:
Send you to the locomotive / cross the head as you go / pro like a broken line wind blowing / double let go to free fly / free fly
Combined, it's ironic!
When she kisses her sweetheart, her gaze reveals that something is wrong, that it is not as loving as she could have imagined, and then she struggles, she despairs, she jumps off the train, and she plays the collapse of a super complex role at the age of 14.
Pure love youth dreams are shattered, freedom is hopeless, and Tang Zhen's broken leg symbolizes the pursuit of freedom.
After all, the train can't reach Taimali, and the future it goes to is a loveless future.
In another highlight of the escape to Burma, Tang Ning forcibly handcuffed Tang Zhen to himself, and Tang Zhen spat at her and said, "I am for your own good." ”
This incantation appears for the third time in the whole film, and is spoken by Tang Zhen, which is still a kind of hypocrisy of love in the end.
Tang Zhen woke up, gave his daughter the last words and left, and finally went out to sea, could not go ashore, and was buried in the sea of fire...
Under such a strong layout, this scene adopts a completely different approach from the previous one, regardless of the tone and soundtrack, and has become the most special scene in the whole movie.
In the movie, the red and blue tones are used to die, and there is a strong metaphor for the hell map.
The winding path design of the Tang House can be imagined as a miniature version of the Rongning Second House.
The most enchanting scene should be the dinner party of Madame Tang's banquet, sitting on the pavilion in the distance, tang Ning, next to the two ghosts appeared impressively, the ghosts danced with the song of Xiulan Maya's "Pure Love Youth Dream", it seemed to be illusory, chilling, this is a very wonderful landscape.
Get up early and full of trees / In the twilight with the wind blowing down in front of the window of the roots / Lifting a broom to sweep the fallen leaves and burn the dust and smoke / Smoke makes me tear up
Young singer Zhang Yachun's Taiwanese song "Full of Trees and Green" is really just right at this moment.
She composes with three strings and a moon organ, and when Banai's deep voice slowly comes out with the southern pipe, the picture stops on the face of Tang Zhen and the silent sea surface of the waves.
Visible fury is nothing, because under the invisible sea, there are already waves.
I really liked the scene.
Tang Zhen stood at this end of the coast, looking back to see the fishing boat explode, and in the tragic white and cold picture, the bright red flame seemed to bloom like the flower of life that Tang Ning had finally bloomed.
At this moment, I thought of the other flower that the painter Liu Yilan specially created for "Blood Guanyin".
Legend has it that this flower blooms in hell, and when the dead cross the Styx, love and hate cannot be extradited, and they all stay on the other shore and turn into blood-colored flowers.
It is interpreted in the film as a kind of flower soaked in turbid water.
"Take me there"... Tang Ning murmured like this in the place of passion.
Despite the failed escape, on one level she arrives "there," a place where she is finally free.
She was also the only one alive and awake, and everyone else was rotten to the bone.
The script of "Blood Guanyin" is full of puns, and the more you think about it repeatedly, the more chill you feel.
So I've always suggested two brushes or even N brushes.
The film stealth male characters from the story on the screen, but male shadows are everywhere.
Maybe it's the target of women's competition for favors, maybe it's the object of use with the convenience of power, or just a few names that are faintly mentioned in the distance, but they all create a lifetime of scars.
Lady Tang set up a bureau in the Midas Planning Bureau, and the black devouring of the loan funds of the peasant association was a symptom, and the real purpose was to lure the legislative dean surnamed Wang to speculate on the land, use the media to expose people to dismount, and hold her lover Secretary General Feng on the throne.
Because a man, whether for love or power, she does not mind giving up her daughter Tang Ning;
Tang Ning discovers that his mother has killed duan zhong and Duan Yi, the brothers of the Tang family's royal killers, triggering a break between mother and daughter;
Tang Zhen indirectly killed marco's girlfriend, and self-destructed for the same man.
Madame Tang once said, "I haven't been cruel in my heart once, where is the look of contempt?" ”
Tang Zhen and Lady Tang are both cruel people, so they look down on love.
In the final scene of the film, the causal cycle, the two torment each other in the name of love to achieve the most ruthless present world.
In addition to the movement of space, Yang Yazhe's bold attempt to distinguish him from his old love is also worthy of appreciation.
"Blood Guanyin" is by no means a movie that only talks about love and hate.
It has a social inquest, stringing together central/local, provincial/indigenous/indigenous conflicts.
For example, Marco's name, the design of the horseback riding plot, and the relationship with the Lin family are metaphors for the exploitation and ambition of the magnates to exploit the indigenous people.
There may be no Marco in Taiwan, but Tang Yingshen's rebellion is real.
So I think "Blood Guanyin" is also a blood letter from the director to Taiwanese society.
Leaving aside these details, I would like to talk about the film's deliberate creation of barnyard history, rural strange talk, and jokes about Taiwan.-like post-establishment techniques.
"The interlude of Taiwan's treasure Yang Xiuqing" appears in this design, in addition to explaining the plot like a storyteller and creating a suspenseful atmosphere
More importantly, she made it clearer for the film to move between the line between illusion and reality.
It can also strengthen the imagery in the play one after another - the blood Guanyin broken palm is difficult to guide sentient beings, and the color shade of the flowers and clothes on the other side is used as a metaphor for the separation of mother and daughter.
Twice, the film uses Apple as a medium, using editing to allow the character to interact with the character in the film.
Once, Lin Pinyi was critically ill, and Tang Zhen sat on the edge of the bed, and an apple rolled at his feet;
Another time is when Tang Zhen refuses to passively treat the dying Lady Tang in return for her loveless future, when a red apple rolls on the ground, and the symbol of desire and sin is very obvious.
Finally, Yang Xiuqing sat in a scene of smoke like hell, in front of the apples piled up, like flowers on the other side, red and desolate.
So here, "Blood Guanyin" is another very aggressive movie, bringing a direct and profound impact to the audience.
The director said: This is an uncorruptive film, but in this era of positive energy, exposing some darkness is the driving force for social progress.
This is indeed the best footnote for the movie.
Although love is so selfish, how hypocritical society is, how ugly human nature is, but when suffering and hatred are dissected, it is all the unchangeable goodness and love for life.
However, none of the three members of the Tang family understood this.
In addition, "Blood Guanyin" is not so much a belly (woman) black compulsory study film that "there is no most necessary, only more must be taken", but rather a bloody ukiyo-e painting of "people are not destroyed by heaven".
The characters in the film are all different in appearance, polite on the surface, and secretly aggressive, not to mention the abominable face when directly facing the conflict of interest.
In addition, the acting skills of the main supporting characters are both powerful and natural, and their complex characters and contradictory emotions are interpreted in every detail, and the negative elements such as hypocrisy, selfishness, domineering and indignation in human nature are fully revealed.
The karma that harms and harms the other is incomprehensible.
There are some religious artifacts (especially Buddhism) in the film, but these solemn symbols reflect the explicit fragility and ugliness of human nature.
In particular, Avalokiteshvara's image in the film means micro..
According to Buddhist teachings, although Avalokiteshvara had attained enlightenment and become a Buddha, he could not bear the suffering of sentient beings, so he descended from the bodhisattva position to the world of Pasa and took it as his duty to overcome difficulties and save suffering.
Moreover, her great compassion is "unattractive compassion and sympathetic compassion."
The former means: regardless of the identity and class of the object, to give unconditional and unrequited kindness to it;
The latter is: the suffering of all sentient beings in the world, the feeling of empathy and sorrow that is not blocked by time and space.
The famous Italian philosopher Giorgio Agamben said:
Capitalism is a religious phenomenon, and there is no salvation but only total destruction.
So, the Buddha statue "broken palm" is a good interpretation of who goes to hell if you don't go to hell.
But the irony is that in the film, Mrs. Tang's practice of praying to the Buddha, but the spirit of "no-cause compassion and same-body compassion" is reversed.
For the unteached daughter, not only sell the woman for glory, but also hurt the killer.
Ming reveres the heart of Guanyin and secretly practices cultivation.
This kind of cruelty of "interests are at stake, relatives can be killed" is very shocking.
The scene where Madame Tang kills her own daughter and then recites the Great Compassion Mantra for her is disgusting.
So the sentence "I am for your own good", in fact, should be followed by a sentence "as long as you obey".
The film's ugly humanity contrasts sharply with the solemn and supreme Buddhist imagery.
It is also because of this contrast that the darkness of its human nature makes the audience have an unforgettable direct impact effect.
In addition, Buddhism emphasizes that there is no difference between color and emptiness.
It is believed that all things in the world (color) are not eternal and are even more changeable (empty).
However, many high-ranking officials and nobles in the film are obsessed with the pursuit of profit (emptiness as existence), but they also take Buddhas and bodhisattvas to their mouths.
The wood-carved Guanyin statue that circulates between politicians and businessmen has become a money-making tool that flows between the faces of the full heart and the mind.
In addition, the characters in the film are quite particular about matters related to praying to God and worshiping Buddha (praying to The Buddha, cemetery, etc.), but they practice all kinds of evil.
Therefore, there is a saying that "temporarily hold the buddha's feet, and be kicked by the Buddha.".
And the subsequent fate of these people involved in the film must be the result of asking God for blessing, but being cursed, which is really to the extreme.
In the last scene of the movie, Mrs. Tang and Tang Zhen each wear two jade bracelets on their hands.
The smooth circle that is used to describe the "consummation of the family" looks like the handcuffs that hold the two people tightly—they can't escape, they can't get off.
--END--
Explain in detail the things you don't know about in Blood Guanyin
Why do I dare to say that "Blood Guanyin" is the best film made in Taiwan in recent years?