Miss Pang Fu ruyi, since childhood living in the shadow of "opium". The rich and powerful who did not go out of the door were actually raised by "poisonous smoke", and they were considered to be "poisonous" women by their relatives before they became relatives, and they were tragically "divorced".
On the surface, Pang Fu is rich on the side, and its interior has long been "golden and jade outside the defeat". The spirit and thoughts of the father, brother and clan were eroded and poisoned by "opium", and the father told his young daughter that opium was "Zhong Liu Yuxiu", and the brother was eroded by opium for many years and went deep into the bones and blood, becoming feminine and terrible, and his personality was distorted.
Not only are the men of the family "sick in their hearts", but the female relatives in the house are living a life of drunkenness and lavishness in the crumbling "opium" empire. In the depths of the sinking desire, the dark corners of the house have long hidden dirt and dirt, and they cannot bear to snoop.
Many years later, her father died, her brother was seriously ill, and as an adult, Ruyi, as the only "female prince", walked into the ancestral hall of the family that had never accepted her and was pushed to the position of chief. The arrival of the "hostess" is more like the endless irony and ridicule of the feudal Pang Mansion that superstitiously believes in male power, and it also indicates that a bloody storm of the deep house is coming.
He thought that his fate would forever be trapped in this dark courtyard of deep houses, but the arrival of Zhongliang opened a window connecting the world for Ruyi. It was the arrival of Zhongliang that broke the deep and terrifying dead silence of Pang Mansion, stirred up the heart of the eldest lady who had been suppressed for a long time, and exposed the twisted humanity of her sister after the corruption of "opium" and the inhuman destruction of her brother-in-law.
The sister's attachment to her younger brother Zhongliang, Ruyi's confusion with Zhongliang, and the misplaced affection between Ruyi and her stepbrother, Zhongliang becomes the entangled lust of the "Fangxin Arsonist" and the Shanghai Kuotai.
A period of uninhibited and indulgent emotional entanglement alternates in the story of "Wind and Moon", people's greed and desire constantly test the bottom line of human nature on the edge of morality, and even in the woman's bitter pursuit of love, knocking on the door of conscience in everyone's heart.
<h1 class="pgc-h-arrow-right" > sister's "greedy" possession of Zhongliang comes from the old system's imprisonment of women's feelings</h1>
After the death of his parents, the young Zhongliang took the form of a single shadow, and his sister who married into the rich family took Zhongliang to his side. As the young grandmother of Pang Fu, the sister is full of spring breeze and decency, more tender like water, considerate and thoughtful. The young Zhongliang did not know that behind his sister's scenery was an endless abyss.
At that time, Pang Fu became a rich family engaged in the opium business, and the entire family sought huge profits in the trade that destroyed their conscience, and even withstood the repercussions of opium. In the Pang family's belief, opium is the source of wealth and the carrier of desire.
Gold and silver jewelry, wives and concubines, these material pleasures that many people ultimately pursue in their lives, have long been within reach of the men of Pang Province. When people's material wealth is saturated, they can only rely on more extreme ways to activate the experience of life, and human nature is distorted and deformed with the expansion of desire.
Opium is "poison", how can Pang Fu not know, even the brother-in-law said that he has been soaking in "poison" for many years and has become "invincible". The brother-in-law's feminine face also proves that he has no cure from the inside out. The sister has been with her "like a demon" husband for many years, and her heart has gradually twisted.
Zhongliang came to Pang Mansion, in addition to studying, the most important task was to light a cigarette for his brother-in-law, ostensibly the little young master next to his sister, in the end he was a small servant without status. The sister loves Zhongliang in every way, spoils her like a mother, and exudes ambiguity.
The sister married into the house, in the face of such a husband, she can only release her feelings into the lust for opium, until the arrival of Zhongliang, she has the opportunity to feel the male breath more closely, and also secretly has special feelings in the obscurantist heart.
The young Zhongliang witnessed the inhumanity of his sister and brother-in-law, and the two people were controlled, consumed and destroyed by "opium". The sister's extraordinary love and affection, and the brother-in-law's terrible and hateful face, let Zhongliang evolve from fear to hatred. It is difficult to say whether the sister and brother-in-law were sober at that time, or had been tormented by desire to the point of choosing to deceive themselves and ignore the soberness, but Zhongliang was completely sober.
In the end, Zhongliang could not stand this perverted family atmosphere, and added arsenic cream when lighting a cigarette, completely making his brother-in-law a "waste man" inside and out. The sister let go of Zhongliang, and more thoroughly became a resentful woman who kept the empty boudoir alone, and every day she could only live with a pair of live fish in the fish tank, the fish were paired with male and female fish, but she kept the "living widow" from beginning to end.
A few years later, thanks to the blessing of his crippled brother, his sister Ruyi helplessly walked out of the boudoir and became the head of pang mansion. After taking over the Pang family, Ruyi ignored the dissuasion of the male elders of the family and drove away a number of aunts and wives in the house.
In the midst of mourning and helplessness, the female relatives left the giants who thought they had lived for a lifetime, and in the future, they may face a life of helplessness and may meet another form of life. The canaries who were raised were finally free, and what was the state of mind of the loyal sister who was the young grandmother of the main house at that time.
Ruyi envied the aunts and wives who had been driven out of the house by themselves, and their lives at least had a turnaround, but in the courtyard of the deep house, her pale life had come to an end. She was like this, and sister Zhongliang was even more so.
Under the feudal system, the concept of hierarchy is strict, women do not even have the opportunity to enter the ancestral hall, in the house their mission is nothing more than to pass on the generations, their task is to let men feel the supreme respect and joy. Sister Zhongliang faced her husband who was psychologically and physically disabled, and the endless pain was more to tell to whom, under such repression, her heart and feelings would gradually distort.
A few years later, when Zhongliang reluctantly returned to Pang Province, his sister's possession and control of him was even more emotionally "greedy". In this world, the only one who is related to him is Zhongliang, and she believes that this is the only existence that can be mastered and possessed. The sister is jealous of Zhongliang's affection for Ruyi, which is regarded as her brother's betrayal of blood and kinship, and of course, the vinegar intention behind the deformed attachment.
In the cage of the old system, my sister did not dare to say no to the status quo, and she did not have the courage to go out and change the status quo. She imprisoned herself and pushed her sister-brother affection farther and farther away. My sister did not understand what love was in her life, let alone felt love, which was the tragic fate of many women in the deep house compound, what was freedom, they did not understand. Husbands are heaven, even if husbands are "wasted people" and have endless sorrows in their hearts, they still lock themselves in this dark cage.
<h1 class="pgc-h-arrow-right" > Ruyi's ruthless "use" of the Dragon Boat Festival, stems from the feudal world's denial of women's value</h1>
The feudal patriarchal society despised the ability of female dependents to take the helm, so they passed on the Dragon Boat Festival, which was a distant branch, and became Ruyi's younger brother, ostensibly to assist Ruyi in presiding over family affairs, but in fact, the family clan had a ghost fetus. The family obviously hopes to use the male power of the Dragon Boat Festival, so that the Dragon Boat Festival, the spokesperson for the family's male power, become a family puppet.
How nai, since the first time dragon boat saw Miss Ruyi as a child, he has developed a fascination with Ruyi. In the face of Ruyi, he is willing to give everything for himself, including himself.
After Zhongliang poisoned his brother-in-law, he fled to Shanghai and was taken in by the gang. As an adult, Zhongliang, a gentleman with a good manner and a dignified appearance, was helplessly trapped by life, and could only become an "arsonist with a heart" to capture Shanghai Kuota, and then extorted a "sealing fee" from the giants.
On top of the bright and green love scene, Zhongliang hid his conscience deeply, and he did not really think about how to "love". The shadow of his youth in Pang Province has made him lose the ability to feel love and perceive love. In disguise and deception, Zhongliang anesthetizes the loneliness and loneliness in his heart.
The gang is very attached to Zhongliang, and regards Zhongliang as their own wealth-gathering machine, and the family turmoil in Pang Province is a good opportunity, and Ruyi is a rare "good target". Zhongliang was full of resistance and resentment toward Pang Fu, but he couldn't help himself, and he returned to the filthy nest full of rejection.
The experience of being retired from relatives made Ruyi full of negativity for herself, and she was evaluated as a "poison" by others, and she could not even affirm her own value for a while, and once thought that like Zhongliang's sister, she could only be trapped here in this life.
The arrival of Zhongliang awakens a true Ruyi, who begins to explore what love is and how to love. Ruyi, who does not come out of the gate, is the "big girl" in the eyes of the world, but here in the young master Zhongliang of the Western Sect, it is "earthy and rustic". Aya silk and old fashion bouquets, in an era when people have begun to call for "equal rights for men and women", are obviously symbols of decay and backwardness.
Ruyi is attracted to the "progressive youth" Zhongliang on the one hand, and on the other hand, she is even more humbled by Zhongliang's "criticism". The loyal and full of love field masters, effortlessly, has already made Ruyichun's heart stir.
Zhongliang may have faced Ruyi with too many resentments, and the more he resisted and fell deeper, he gradually moved his heart to simple Ruyi. If Ruyi knew that Zhongliang was a fake young master and a real liar, how would she think of this man? In Pang Province, he was once a small slave controlled by people, and he no longer wanted to bow his head here.
Zhongliang goes from active attraction to deliberate rejection of Ruyi, but feelings are like this, the more unmoved they are, the more they are full of temptation and charm. Although Zhongliang did not want to "want to take advantage of the situation" this time, how could he "wish to take the bait", Ruyi fell out of control with Zhongliang, even humble, and even absurd.
All the emotional changes of Ruyi to Zhongliang are deeply rooted in the heart of his stepbrother Duanwu, and Ruyi's "delusion" to Zhongliang is just as ruyi's "loyalty" to Ruyi, but none of these emotions are normal, nor have any of them been ended well.
Ruyi found that there was a photo of a mature wife in Zhongliang's luggage, this woman was called "Tianxiangli Woman" by the gang, and it was also a "target" that Zhongliang had not done for half a year, and it was obvious that this woman occupied a place in Zhongliang's claustrophobic heart. This status made Ruyi envious, and even more made Ruyi have extremely crazy ideas.
Ruyi believes that Zhongliang's rejection of herself is due to her ignorance of feelings, and she thinks that the woman that men like is the woman in the photo. Therefore, she actually used the Dragon Boat Festival, allowing herself to learn and practice, and complete the transformation from a girl to a woman. As a result, this pair of "nominal" brothers and sisters were also mired in a deformed relationship.
Ruyi has made all the efforts for Zhongliang, and the Dragon Boat Festival has also dedicated everything to Ruyi, but unfortunately Ruyi can only see Zhongliang alone in her heart. After learning that Ruyi was obsessed, Zhongliang's heart was even more tormented, and he tricked Ruyi into taking her away, and finally "conscience found" to leave Ruyi on the dock. He would rather bear the insult of a negative person, rather disobey the great orders of the gang, and he would not "fight back to the original form" in front of Ruyi and show his despicable and shameless side.
If it were not for the "resignation" of that year, Ruyi would not be so fragile and inferior in her heart. She longs to be loved, but in the denial of others, she loses the judgment of her own value, in order to fight for love, she does not hesitate to humble to the dust, let alone make all sacrifices. Ruyi and the Dragon Boat Festival, absurd to the extreme, but also heart-wrenching. For the sake of love, they both chose to fulfill each other. In the feudal world, women are "materialized", "traded", and "defined", ruyi tries to take the initiative to explore and try to struggle, but her extreme way is the forced choice of feudal secularity to deny women's value.
<h1 class="pgc-h-arrow-right" > "Tianxiangli Woman" to verify the "obsession" of love, which is the dividing line between Ruyi and Zhongliang's sister's "concept of love"</h1>
Zhongliang has special feelings for the "woman in Tianxiangli", and he has always adopted the principle of "fast and accurate" to the target, but he has not done anything to this woman for half a year. Zhongliang even lied to the gang, saying that the woman's husband had not returned in Hong Kong, so it was not appropriate to do it. In fact, it is not difficult to see from the photos of the woman he carries with him that he has feelings for her.
Zhongliang chose to escape, forget and even hate his sister, and the only reliance he once relied on completely hurt him, Zhongliang lost his sister's love, but he longed for a family-like caress. To some extent, "Sister Tianxiangli" made up for the lack of his love.
"Tianxiangli" is the place where they date, and the woman is gentle as water and obsessed with love. She had asked Zhongliang if she loved him, and when Zhongliang hesitated, she hurried to apologize for her "crossing the line" problem, such a relationship where "love" is a luxury, but she deeply longed for him because she loved him.
The "Tianxiangli Woman" seems to be between the sister and Ruyi. She is much braver than Zhongliang's sister, although there is a secret affair with Zhongliang, but she is not like her sister who imprisons herself in the tomb of a "living dead" for life, and she comes out and chooses to take risks.
Her love for Zhongliang is a normal expression of a woman's feelings for men, compared with the sister's deformed attachment to her brother that transcends ethics, "Tianxiangli" goes beyond the moral bottom line and pursues the love in her heart, but it is not an extreme catharsis after the distortion of human nature.
Ruyi really knows love, and it is precisely "Tianxiangli" that has taught her a lesson. Zhongliang, because he fell in love with Ruyi, did not complete the gang's task, and in order to compensate, he decided to attack "Tenkari".
The brief separation made the woman's thoughts and admiration for Zhongliang more and more profound, and when she appeared again in Tianxiang, the woman and Zhongliang embraced each other deeply. This scene was all looked at by Ruyi.
The gang greatly saw that Zhongliang had moved the "mortal heart", and in order to keep his right-hand protégé, he greatly arranged for Ruyi to witness the whole process of "Tianxiangli" being designed, so that Zhongliang's identity would be completely exposed, and Zhongliang must be dead in his heart and continue to be an "emotional liar" without feelings.
After all, they underestimate the energy of love, including being loyal to themselves. "Tianxiangli" is blindfolded by the gang's accomplices and extorts money on the grounds of exposing extramarital affairs, and this tried and tested deception method will generally reap satisfactory results at this critical moment.
However, "Tianxiangli" has zhongliang's safety in mind, and when she breaks free of her hood, she finds that everything is a scam. The woman didn't get angry, just repeatedly asked "Have you ever loved me".
The word "love" is too extravagant for Zhongliang. Desperate is not that their money is cheated, but a piece of true failure, the woman turned and snatched the door, jumped off the tall building, and died for love.
The death of "Tianxiangli" makes Zhongliang collapse, and let Ruyi see the heavy price that women pay for love.
Ruyi walked over to Tianxiangli and spread a handkerchief on her remains, paying her respect. It was after seeing the photo of the woman in Zhongliang's luggage that Ruyi decided to become a woman, and now she died in front of Ruyi's eyes.
Is it worth it for a man who doesn't love himself? The next day, Ruyi put on a beautiful dress and dressed up gracefully, like a Shanghai woman with a variety of styles, and she appeared in front of the hangover and decadent Zhongliang.
Zhongliang's emotions are out of control, but Ruyi is unusually calm. She just repeatedly asks as a woman, "Have you ever loved her", "Do you love me". What Zhongliang looked like, Ruyi didn't care, she cared more about the answer.
After disappointment, Ruyi did not repeat the mistake of "Tianxiangli", and she returned home. Coincidentally, the young master, who had retired from his family, appeared in the palace on a bicycle in a dress, just like the original Zhongliang. The young master said that it was the family's decision to retire, and he wanted to see it with his own eyes. This time, Ruyi decided to marry him.
After a visit to Shanghai, Ruyi understood that the initiative of love should be in his own hands. Dramatically, Chung-leung suddenly wakes up and flees from the gang and returns to Pang Province to confess to Ruyi.
When he finally bravely said "I love you", Ruyi turned away, and his head did not return, "It's late, in a few days I will be a bride, I have wanted to be a bride since I was a child, and I am waiting every day." My new clothes are about to be ready, the groom is ready, I will do everything, I will be the bride."
Ruyi's active choice this time is the awakening of the woman's self-worth after "Tianxiangli". Zhongliang stirred her heart to find love, but "Tianxiangli" made her realize that women's feelings should belong to themselves, and women can say "no" to men. "Tianxiangli" is braver than her sister, and Ruyi is more transparent than "Tianxiangli". Ruyi is smart, and she chooses to move forward.
< h1 class="pgc-h-arrow-right" > concluding remarks</h1>
Although Ruyi has the awakening of active choice, she has interrupted her future in the farewell to love. Zhongliang once again transferred his hatred for Pang Fu to Ruyi, and like his "poisoned" brother-in-law in the past, he added the same arsenic to Ruyi's smoke soil. Ruyi took this cigarette as his farewell to Zhongliang and inhaled it deeply into the bone marrow. By the time Zhongliang regretted trying to stop it, it was too late, and Ruyi really became the rumored "poisonous girl" before getting married.
From innocence to initiative, to awakening, to experiencing tragedy, Ruyi completed her journey of finding love and fulfilled her complete ritual of pursuing love.
Ruyi, who is "stupid", is the ultimate irony of Zhongliang's cowardly and weak love attitude, ruyi chooses to be loyal to his inner belief in love until the end, but Zhongliang chooses destruction.
As Chen Kaige himself said, "Wind Moon" is not very famous in his works, but it is an early film that reflects the theme of women's independence in that era. Chen Kaige described Ruyi as the only hostess in the patriarchal family, she was innocent and lonely, strong and determined.
"Wind Moon" unfolds with ruyi's growth story as the main line, and at the same time compares and presents the different love concepts of Zhongliang's sister and the "tianxiangli woman", showing women's different degrees of awakening to their own value. The whole story uses extreme emotional patterns to explore the boundaries and limits of human nature and desire under the feudal system, and interprets the efforts and processes of the gradual awakening of women's independent consciousness.
Love has nothing to do with the wind and moon, she belongs to herself.