Pessimistic people are more likely to see "futility", but for optimist Zhang Aijia, "searching" itself is important.
Wen | Lu Meihui
Editor| Yao Lu
Photography | Wu Ming
Hair stylist | Pius Yiu @ Yao Pai
Makeup artist | andy @ndnco
Year 50
On June 29, Zhang Aijia got up at 3:45 a.m. She changed her clothes first, waited for the makeup artist to come and put on makeup, and when she was ready, she appeared on the beach in Aranya on time with a big red shawl.
This is the last recording of the documentary variety show "Remembering Youth" of which Zhang Aijia served as the producer and convener. Because it was too early to get up, the young people in the program group yawned and yawned, but Zhang Aijia was full of energy and properly said good morning to all humanity. In the original idea, everyone will usher in the rising sun on the beach of Qinhuangdao, the sun pierces the clouds on the sea, accompanied by the morning light, and the show ends. A perfect plan.
But on this day, the sea mood of Qinhuangdao was gloomy, and the sky was densely covered with dark clouds, and until the end of the festival, not a trace of sunlight appeared. Many people could not hide their disappointment, Zhang Aijia tilted her head to look at the sky, her eyes were always very bright, "Cloudy days are also very good, what is bad about cloudy days?"
It was such a day, a normal working day. From the age of 18 to the film set, this year is Zhang Aijia's 50th year from film. There is no ceremony, no special commemoration, half a century later, she has changed from "Little Sister" to "Sister Zhang", she acted in movies, directed, sang, opened a company, took apprentices, and became a judge, and is recognized by the whole Chinese world as a thousand-faced girl.
It is not easy to work during the year. Previously, she set off from Hong Kong and led the filming team through Taipei, Chongqing, Haifeng, Beijing and other places. Because of the epidemic, she experienced a total of 42 days of quarantine on both sides of the strait.
While recording the program, the assistant downloaded all the participating films of this year's FIRST Youth Film Festival on her computer. She had to use her free time to watch all the films, and a month later, Zhang Aijia flew to Xining to participate in the judges' debates as the chairman, and then synthesized the opinions of all parties to select the final honor. On August 2, at the award ceremony, a long black and white dress, Zhang Aijia and Zhou Yun awarded the honor of the best feature film to "The Last Farewell", the award was announced, Zhang Aijia, who stood aside, smiled and looked at the young people who were boiling with joy under the stage, when the background music sounded at the right time, "100,000 Hippies" of the Universal Youth Hostel.
The strength, creativity, talent and confusion of youth have always fascinated Zhang Aijia. Her first visit to the mainland was in 1987, when she came to see Cui Jian's concert with a group of friends. At that time, Beijing had a quaint beauty, "feeling alive in history, making people suddenly very quiet." But at the concert site, the rough guitar sounded, and Cui Jian put a red cloth on his face, "Everyone is crazy."
Many years have passed, Zhang Aijia has changed from a former rock fan to an elegant symbol and legend in the Chinese world. Rock music is not very listening, every morning after getting up will be half an hour of meditation, when the epidemic is not so serious, she joined the running group led by Zhou Runfa, every morning at six or seven o'clock, a group of people go out for a run, and then have breakfast together. From a lifestyle point of view, it is in line with her age of 68 years. But Zhang Aijia, another part of her body, has always existed, and she is still obsessed with the perception of life itself, and maintains a lot of curiosity about the world.
Cheng Shihui, the producer of "Nian Nian Youth", first met Zhang Aijia in Shanghai, when Zhang Aijia had just finished isolation, "The first time I thought she was too young, too good-looking, the day I saw her, she wore a white knitted dress, clean, especially clean, especially neat." 」
Cheng Shihui studied in the UK in his early years, joined the BBC as a journalist after graduation, and later returned to China to do documentaries. In 2020, after 6 years of variety shows, she began to return to the documentary. During this period, CNEX CEO Chen Lingzhen called her and invited her to come out and work together. In the past 10 years, Chen Lingzhen has been making quiet efforts in the field of independent documentaries, supervising and producing "Music Life", "Plastic Kingdom", "Stick! Juvenile" and other works.
Just in time for the epidemic, Cheng Shihui, who has been fighting in the workplace for nearly 20 years, has the opportunity to spend a long time with her two adolescent children for the first time, which makes her also have a lot of questions: "Is there real communication and understanding between one generation and another generation?" Based on these thoughts, "Nian Nian Youth" has a prototype, to explore the proposition of youth, Youku also joined as a co-producer.
Regarding the soul of the show, in Cheng Shihui's vision, she needs a good listener and questioner, and a person who enthusiastically lives her life. Zhang Aijia's appearance naturally emerged, "She just lived into every age group, and you want to live like that."
When they really met, what appeared in front of her was a woman who was "particularly sassy", "She was in a meeting, and the sweater, the sleeve clicked up, and without a little twisting, you felt that there was a fire in her body." No matter how early the recording, Zhang Aijia never arrived late, and this beginning even made Cheng Shihui very uncomfortable, "She is the only artist I have ever seen, she has never refused extra meals, it is forever, it is that she seems to feel that if I eat a fish alone, you don't, she feels evil." 」
From July 28, the program will be broadcast exclusively on Youku. Regarding the attempt at variety shows, Zhang Aijia's logic is very simple, after making so many movies, she hopes to express it in a form that young people prefer, which is hidden behind the labels of legend, elegance and intellectualism, typical of "Zhang Aijia's personality".
One carrier
Earlier, the movie "Tropical Past" starring Zhang Aijia and Peng Yuyan was released in theaters. In the humid and hot southern town, Zhang Aijia loosely tied her hair behind her head, and the skirt suspender slipped listlessly. The air conditioner maintenance worker played by Peng Yuyan appeared silently, and an ambiguous atmosphere began to brew in the air.
For a long time, in the increasingly narrow audience of literary and artistic films, Zhang Aijia silently showed the possible waves in the world of human emotions. According to theater director Lin Yihua, Zhang Aijia has become "a carrier", in the vast majority of film and television works, the vast majority of women of Zhang Aijia's age have been isolated from the "story", and the creators or the audience will no longer regard them as unique life individuals.
Lin Yihua looked at Zhang Aijia on the screen when she was a teenager, and her feeling was "special", even if she was not the protagonist, she would see her first, "She has never played a weak person, like the synthesis of Huang Rong and Zhu Yingtai, there is a kind of heroism." 」 Many years ago, Lin Yihua opened a class for students at the University of Hong Kong, the title of which was "Becoming Zhang Aijia", and when it came to the original intention, Lin Yihua replied, "Because Zhang Aijia lived a very modern and self-contained life until she was more than 60 years old, and never blocked herself."
At the age of 24, Zhang Aijia starred in "Dream of the Red Chamber of Jinyu Liangyuan" directed by Li Hanxiang, she felt that her personality should play Baoyu, but Li Hanxiang refused, thinking that Lin Qingxia was more suitable for Baoyu, and Zhang Aijia should challenge herself. "I'm so miserable, because I don't like Lin Daiyu's self-lamentation." Lin Yanni, a writer who was a friend, advised her, "Qingxia is half a head taller than you." Zhang Aijia said unconvincedly, "I can wear high heels."
When the movie was made, Lin Yanni laughed at her, "Your dai Yu is too healthy." When Baoyu wanted to marry Baochao, you ran back to the room sadly, and you ran so fast, as fast as the Olympic 100-meter race."
Zhang Aijia retorted at this time because he did not understand the body of Yue opera. So Lin Yanni wrote, "This woman, there is not a day to serve."
In 1977, Huang Mei's drama film "Dream of the Red Chamber"
In 1990, Lin Yihua and Zhang Aijia really knew, and then cooperated with stage drama works such as "Gorgeous Office Worker" and "Liaozhai", along the way, Lin Yihua saw a kind of "rich spatiality" in Zhang Aijia, on the stage, Zhang Aijia after the age of 60 could talk to Zheng Yuan in love, and Wang Yaoqing was hysterical, "Her figure has not changed greatly, she still maintains her neck, her face, (her) edges and corners." But more importantly, the form of the whole person, that kind of smoothness, makes me feel that it is really Sister Zhang who can still act, and her artistic life can always go forward."
Zhang Aijia did gain some kind of freedom. In the 1990s, in Ang Lee's "Eating Men and Women", Lang Xiong talked about juvenile madness and took Zhang Aijia's hand to surprise everyone. "20 30 40", after the marriage was broken, Zhang Aijia and Ren Xianqi came to a period of dry firewood like a doomsday carnival. "The Old Man of Mountains and Rivers", on the rumbling helicopter, the wandering teenager Dong Zijian had a shocking kiss with Zhang Aijia in the high sky.
Zhang Aijia became an accident, as a muse with many wrinkles on her face, she can still show a kind of human instinct-based lust, but also retain a lot of intuition and animality. When Jia Zhangke filmed "The Old Man of Mountains and Rivers", he knew that the mother-son relationship would offend many people, and when casting, he thought that he must find a "person with freedom of heart". In the end, if you want to come and go, it can only be Zhang Aijia.
"People" and Zhang Aijia talked about the opponent scene with Peng Yuyan in "Tropical Past", she nestled in the sofa and laughed, with a bit of mischievous pride, "That day a friend said after reading it, I don't care who he killed, I like to see what happened to him with you." 」
But she was also extremely inattentive, and through many years, she was never the one who pursued 100 points. She never appeared as a symbol of beauty in the mixed-cut videos of 90s beauties. The shadows of the golden years that people repeatedly cherished had nothing to do with her. She laughs at herself that acting is not Lin Qingxia or Maggie Cheung, singing can not catch up with Lin Yilian or Faye Wong, above the temple of the movie, past, present or future, it will always be Hou Xiaoxian and Yang Dechang who will be worshiped by people.
Life was never a game in her. She likes process more than results, and is a proper experientialist. This brisk state of mind brought her a stable average, the high places on the top of the mountain were cold and she rarely experienced, but over one hill after another, the addicted idols disappeared one by one, turning back to the past, above different time scales, a group of glorious partners, but Zhang Aijia continued to move forward.
The story is told in the length of 50 years, of course, there will be a lot of sighs in the world. Coming and going, going and going, a group of people disappear in the song and dance hall of the times, the consensus and memory suspended in the minds of generations, under the wash of the tide of the new era, cracks inevitably appear.
But unlike the companions who are often bitter, accustomed to pessimism, and even often angry with her own departure, in her 50 years of acting career, Zhang Aijia's vision of the world has always been positive and bright, and she has always believed in courage and innocence, which are common to human beings. She has always believed in "love", even in this era when everyone is used to turning their backs, everything seems a little out of place.
Why did Zhang Aijia become Zhang Aijia?
Passion or innocence
Four years ago, "People" had a conversation with Zhang Aijia in Taipei. At that time, Zhang Aijia's film "Love and Blind Date" won seven nominations at the Golden Horse Awards, but in the end there was no harvest. The interview was conducted a few days after the award ceremony, and Zhang Aijia laughed and said that the judges were "so cruel", but she, the chairman at the time, still ate duck eggs, "proving that there is really no shady scene, right?"
That exchange quickly skipped the film's surface gains and losses, and turned into Zhang Aijia's anxiety about the ever-changing world. She was old enough to need affirmation from others, and "Love and Affection" was not badly shot, and it didn't need box office, film critics or any awards to affirm herself. What she is really sad about is why people now, especially young people, are reluctant to talk about "love"?
"Love" seems to have become a troublesome thing in the lives of modern people, and everyone turns their backs on each other and quarrels across the screen. Zhang Aijia has the habit of getting up early, opening the morning news, where there is war, where the forest has been cut down a large piece, in short, it seems that the whole world seems to be caught in a huge passion for destruction, that is not the world that Zhang Aijia is familiar with.
We also talked about the distant year of 1985. Zhang Aijia is 32 years old, it is the age of blood, the year before that, ethiopia suffered a famine, causing millions of deaths, the worst natural disaster of the 20th century triggered a wave of solidarity in the global music industry, from 1984 to 1985, many singers and rock bands in Europe and the United States held fundraising concerts or released singles, the most famous of which was "We Are The World" led by Michael Jackson and performed by 45 singers.
It was the era when the distant famine and the merciless flames of war would connect the citizens of the global village, when Zhang Aijia, as the chief convener, joined hands with Luo Dayou, Li Shouquan, Zhan Hongzhi and other cultural figures to gather 60 singers from the Chinese region and jointly performed the song "Tomorrow Will Be Better" that inspired countless people.
In that conversation, we talked about, and in the decades that followed, we entered the "tomorrow" that we looked forward to when we were young. Some people pessimistically argue that "tomorrow" is not getting better, "will we be discouraged at this time?"
Zhang Aijia smiled at that time, "No one knows if tomorrow will get better, but things always have to be done." In 2017, the 10th anniversary of Yang Dechang's death, there were some commemorative activities everywhere, when Zhang Aijia was reluctant to talk about Yang Dechang to the outside world, "I said don't talk about it anymore, I said you have been using him to consume, no, we have to move forward." 」
"I thought we should do something." Zhang Aijia used this to answer her youthful years. The idea of "doing something" has run through most of Zhang Aijia's life, and most of the actresses of her generation believe in becoming famous early, and then marry into the rich around the age of 30, and from this matter, they are whisked away, leaving everyone with a shadow of repeated hanging. Zhang Aijia could not accept this kind of life.
Although the presentation is slightly outdated and even tacky on the face, for Zhang Aijia, her expectations for herself and the world are more or less like the songs in "Tomorrow Will Be Better", "Sing your enthusiasm, stretch out your hands, let me embrace your dreams, let me have your sincere smile." 」
"There's something particularly hot in her bones, passion or innocence?" This thing is born." Decades later, Zhang Aijiala faded out of the jianghu for a long time tian Zhuangzhuang starred in "Love and Blind Date", the world changed its appearance, no longer the way they could shake it with a passion when they were young. In Tian Zhuangzhuang's place, ning does not bend and adds Yixing Shan, decades of time have passed, the past has passed, and there is no pity. But such an attitude towards life was too negative for Zhang Aijia. Tian Zhuangzhuang said that Zhang Aijia has a continuous tenacity, "Maybe I suffer (setbacks), churning once or twice, but more times I will not play, I dodge it is not the end, Zhang Aijia is not, she will always do." 」
I was a little bit injured
There is a recording of "Remembering Youth", and we invited Luo Fuxing, the founder of Killing Matt. Luo Fuxing said that after bidding farewell to the era of killing Matt, he was reluctant to return to his hometown for a while. The costumes of the Killing Matt era, with the criticism of factory owners whether to eat or have hairstyles, have become history, and youth rebellion has become a thing of the past. Luo Fuxing said to Zhang Aijia, "You won't understand my feelings."
"I'm not upset, I think I'm a little hurt." Zhang Aijia later explained to "People" how she felt when she heard this. But she accepted this, "The injury means that everyone has to communicate, and only when they say it will they understand, don't push me away at the beginning, right?"
Before and after that episode, Zhang Aijia did a lot of homework, slowly understanding Luo Fuxing and the symbolized group behind him, a group of young people who had not been understood and seen for a long time, in a drastically changing society, few people understood their feelings.
Unlike the usual older people who are used to blaming the new generation, Zhang Aijia feels that the nihilism and hatred that spread among the younger generation today lie precisely in the previous generation, and young people generally lose their enthusiasm for intervening in reality, but it is not fair to blame them in turn, "That is why I think they have been looking for an exit in the virtual world, then what is wrong with our real world." But I've been thinking about it all the time, that I'm not blaming, I'm never going to blame young people, I'm blaming our generation."
In Zhang Aijia's view, it was the previous generation that created such a world for today's young people, "Later I said that youth is actually a kind of violence without consciousness and without malice, when we are young, the so-called rebellion is good, what is to screw with others, everything has its own ideas, and there are quite a lot of confrontations." But why don't we try to communicate and understand more?"
Chen Lingzhen also noticed Luo Fuxing's reaction to Zhang Aijia at that moment in the program. Known for many years, Chen Lingzhen described Zhang Aijia as a "person who is eager to burn himself to bring light", but the rhythm and climate of modern society, Zhang Aijia's enthusiasm, is likely to be unresponsive. This is outside the show, as a friend Chen Lingzhen hurt Zhang Aijia, "Modern people first shut themselves in a glass house, then look outside, and then always think about what the temperature outside might be, but they don't know what the temperature outside is." 」
When deciding to do this show, Zhang Aijia and Chen Lingzhen only made one request, "Don't be all successful people, don't be all stars." Chen Lingzhen felt that Zhang Aijia always had something rebellious in her bones, "maybe not very strong to fight, but she is very clear about what she doesn't like."
In such a program that pays attention to youth, Zhang Aijia took the initiative to shoot the subject, which is 97-year-old Huang Yongyu. Zhang Aijia likes Huang Yongyu's "Old Man Older Than Me", Qian Zhongshu, Shen Congwen, Zhang Boju, Zhang Leping, Li Keyan... One by one, living clean and pure, working for his own cause all his life, the fate of the destruction or the wind and rain of the times does not matter, are the kings of their own small world. In the interview, she said with a little sadness: "Modern people have passed too fast, and many people are just a name in the minds of young people, which is not true." 」
Just like not seeing Tian Zhuangzhuang failing to live up to his talents, Zhang Aijia did not want today's young people to miss the treasures around them in vain. Her eagerness, more or less, has a taste of wishful thinking, but in the end the logic will return to the original point, "to do something."
The most important legacy left by Zhang Aijia during the "Tomorrow Will Be Better" period is a great passion for continuing to pay attention to the world. Although this sounds like another life at the moment, in Zhang Aijia's life, what she accepts and what she believes in is always infinite distance and people are related to her. Young people in their twenties and thirties do not know Huang Yongyu, who is in his 90s, which is his failure to fulfill his "responsibility" in his 60s. She quoted a quote from Huang Yongyu's previous writing on the show, "Young people often miss the old."
The young people of the current world also made her wonder, "What is the difference between the youth and me now?" So I said, I want to try it, I'll see what youth is all about, and then I'll see what the relationship between youth and each of us is."
Shining days
Zhang Aijia has a shining adolescence. At the age of 13, she was sent to the United States by her mother to study. After school, she would go to work, help others take care of the children, or walk the dog for others, others walk one at a time, and she would walk four at most. In the 1960s, the United States, the golden age of hippies and rock and roll, was also in the midst of the wave of opposition to the Vietnam War, and in 1967, a boy with long hair and a turtleneck sweater inserted a carnation into the rifle barrel of the Pentagon gendarmes, thus starting the famous flower power movement in the West. At that time, Zhang Aijia wore a miniskirt and mixed barefoot into the parade in New York's Central Park, with a wreath on her head and singing anti-war songs with the big children. At the age of 16, because she "likes to fall in love too much", Zhang Aijia was dragged back to Taiwan by her mother, but she confirmed early that she was not the material for reading, and she thought of singing on TV, and her mother had no way, so she went by her daughter.
Film critic Jiao Xiongping recalled Zhang Aijia at that stage, "It seems that there was only one TV station at that time, and it may be the black and white era, Zhang Aijia and Zhen Ni, the two went on stage to sing an English song." 」 Zhen Ni was recognized as a beautiful woman of that era, "she was of mixed race, with a deep silhouette, and everyone thought it was so beautiful and sunny." I didn't expect Zhang Aijia to sing with her, and everyone unexpectedly said that this girl really is, it's really good-looking, there is a kind of youthful sweetness, two people come out like this, everyone will feel a sense of happiness when they see it, so beautiful two little girls singing English songs."
In 1972, 19-year-old Zhang Aijia signed a contract with the Hong Kong film company "Jiahe", which arranged a dormitory for her, and the last tenant in the dormitory was Bruce Lee. At that time, it was the prosperous era of martial arts films, and Zhang Aijia's debut was a martial arts film called "Dragon Tiger King Kong", which was a heroic narrative of the thin routine of that era, men fighting around, and Zhang Aijia was responsible for beauty and cuteness.
In 1976, at the age of 24, Zhang Aijia starred with Lin Fengjiao and Qin Han in Li Xing's "Biyuntian", a typical Qiong Yao bitter love scene, Zhang Aijia had a lot of crying scenes, but also staged a scene of voluntarily borrowing a belly to give birth, with the film, Zhang Aijia won the first best supporting actress trophy in her life. Everyone went to drink together after finishing work, Qin Han drank too much, threw plates and threw chairs, Zhang Aijia drank too much and cried and screamed, the scene was very unpleasant.
In 1977, the 25-year-old Zhang Aijia and Lin Qingxia teamed up to co-starred in Li Hanxiang's Huangmei drama film "Dream of the Red Chamber", in which Zhang Aijia played a "particularly healthy" Lin Daiyu. Also this year, she and Liu Wenzheng filmed "Shining Days", the scene needs two people to sing, Zhang Aijia suddenly thought, said that the two of us can not finish singing, after singing a few words, turn it into the background music of the next play. Director Liu Weibin inadvertently said, "Zhang Aijia, you can become a director in the future."
Before that, Zhang Aijia was a junior in the film circle, a hippie girl who always wanted to play, fall in love, drink and sing until dawn, because she liked to fall in love too much, she even broke off her contract with Jiahe. But as soon as the idea of "being a director" popped up, the road in front of her was suddenly wide, and for Zhang Aijia in this period, in addition to being dashing and unbridled in life, she also learned to find the possibility of making her own decision in the film and television industry, which was absolutely dominated by men at that time, in the passive fate of actresses who were more of a beautiful symbol.
Regarding what a good director should look like, Zhang Aijia's initial education came from Hu Jinquan. At that time, filming "Legend of the Mountain", the whole group stayed in South Korea for a year, and for the first three or four months, Hu Jinquan did not take a shot of Zhang Aijia, she did not know what she did wrong, hiding in the hotel and crying. Later, Zhang Aijia reacted, Hu Jinquan was grinding her patience, hong Kong in that era, often eight or nine days to make a movie, Hu Jinquan wanted to let this frizzy girl calm down first. Hu Jinquan has been an actor, familiar with history, and has studied art, Zhang Aijia later became Hu Jinquan's follower, she is not squeamish at all, the movie needs some cloudy shots, she goes to the scene with the drama to light a fire and smoke, burn a little here and burn a little there. This made Zhang Aijia understand very early that the movie was fake, but the movie thing can be very real.
In 1979, Zhang Aijia cooperated with a friend to set up a film company, became the boss, and the first play he invested in was Xu Anhua's debut film "Crazy Robbery", at that time Zhang Aijia saw Xu Anhua, embarrassed to say that he was the boss, only said that he also wanted to learn to be a director.
1979 Mad Robbery
In the film industry, Zhang Aijia's nourishment originally came from Hu Jinquan, Li Hanxiang, Li Xing and other older directors, who ranked third in the family, and the old directors used to call her nickname "Little Sister". Little sister first came to Hong Kong to work hard has left a different impression on many people, for a while with Hu Jinquan to learn editing, like a fart worm, teasing Hu Jinquan every day to manage her shouted, "Son, son!"
Her rampage personality also inevitably broke her head and shed blood, Yi Shu wrote that year, "People always remember the smell of the newborn calf when she entered Jiahe, chaotic spirit, chaotic beauty, chaotic talking, chaotic tantrums, she thought that the film industry was a school, Zhang Aijia, the world is not like this, the world is the truth you discover now, and everyone has to live well."
What is the "truth of the world", Zhang Aijia has not found a perfect answer, decades later, she summed up her character, "I am a person who often hurts myself but gets up and still has to go to war."
Genius caregivers
Hui Anhua's "Crazy Robbery" later became an important work of the Hong Kong New Wave. In 1983, Zhang Aijia became the director of the Taiwan Branch of New Art City Film in Hong Kong, vigorously supporting the creation of literary and art films, and taking advantage of the trend to introduce the waves of the New Wave to Taiwan.
In 1981, Jiao Xiongping ended her study abroad career, and Zhang Aijia was the first person she saw in the film circle after she returned to Taiwan. A small episode is that the two people met and chatted, chatting and chatting about Luo Dayou coming to Zhang Aijia, the café during that time, or whose living room, the recording studio of the Rolling Stone Company, full of vigorous young people, Luo Dayou and Zhang Aijia, Yang Dechang and Hou Xiaoxian, everyone rubbed their fists, watched out for each other, Luo Dayou wrote songs for Zhang Aijia, Hou Xiaoxian helped Yang Dechang make cameo movies, and Xu Anhua and Xu Ke in Hong Kong, the fifth generation of directors in the mainland, all kinds of frost heaven competition freedom, Together, we have created a beautiful era that will be repeatedly looked at and cherished by future generations.
The cost of making a movie is too large, once Zhang Aijia visited the bookstore, turned to the novel of "Eleven Women", and felt that it could be made into a series, so he submitted a plan with the TV station. "Eleven Women" recruited a group of new forces such as Yang Dechang and Ke Yizheng. As a planner and producer, Zhang Aijia is in the middle of a group of fierce people, taking care of everyone's emotions and controlling costs, three heads and six arms, miserable.
Jiao Xiongping believes that "Eleven Women" is the beginning of the new film movement in Taiwan, a group of newcomers to the film industry have the opportunity to emerge, Zhang Aijia played an important role in promoting, "her maturity and wisdom and some of her tolerance, is because she took on a lot of this hard work very early, in fact, there is a lot of patience and perseverance, and for that financial stability, a lot of trivial work." 」
When the world understands history, they only see achievements and glory, and few people pay attention to the soil and cornerstones on which achievements and glory can grow. Jiao Xiongping, who has made many efforts to promote Taiwanese films to the world, believes that Zhang Aijia is by no means a beautiful symbol standing next to the great talent, "Her boldness and her promotion of talents, etc., use her resources to give these people some opportunities for experience, this is really, irreplaceable."
Yang Dechang is a great genius, but few people can stand his temper on the set. When Zhang Aijia is there, he always tries to make everyone happy and relaxed. Walking through that dazzling era together, Jiao Xiongping felt that Zhang Aijia soothed and achieved the profoundness and sharpness we later saw with the gentleness and toughness unique to women. In that era, everyone was arguing while uniting, genius and tyrants could be two sides of a person, "In fact, everyone loved him to death, liked his movies, but with him, everyone was trembling, everyone was, suddenly looking at his face flashed a shadow, said, yo, I don't know which sentence I said wrong." 」 Jiao Xiongping also remembered that once he went back to visit Hou Xiaoxian, the whole crew did not dare to speak, seeing her coming was like a savior, "The whole set was happy to die, saying that you are good to come, you are good to come, saying that no one in the audience dares to talk to him." 」
The last recording of "Nian Nian Youth", the program team secretly invited Zhang Aijia to invite Mao Xuewei, an actor who played her husband in the movie "A Day on the Beach", the tide dissipated, the partners who created history together were blown to pieces, Yang Dechang died, Hu Yinmeng retired, Mao Xuewei opened a restaurant in Shanghai, only Zhang Aijia, still active in the front line, and chose a beach in a northern city as the end of a stage of his new work. The dusky waters of Qinhuangdao gushed back and forth, and that day coincided with the 14th anniversary of Yang Dechang's death.
Film history regards "A Day on the Beach" as the opening song of Yang Dechang's legendary film life, Mao Xuewei recalls another detail with "People", in the film era, the length of a movie is usually 90 minutes, about 9,000 feet of negatives, "A Day on the Beach" Is cut version is 166 minutes, "Yang Dechang used 120,000 feet!" He doesn't care about anything."
Genius is burning wildly, it is bound to burn a lot of people around him, Yang Dechang is not good at handling interpersonal relationships, and he has no concept of finance, and many trivialities have to be handled by Zhang Aijia. Many years ago, Zhang Aijia had a conversation with Lin Yihua, talking about "A Day on the Beach", Lin Yihua asked about her old past with Yang Dechang, Zhang Aijia laughed and responded to his old friend, "He has almost no life of his own every minute." Everyone was there chatting and drinking, and he was sitting next to him squinting and smiling, and suddenly he would say, who is going to say something. Everyone was stunned and didn't know what he was talking about. Only I knew he was talking about something in the script."
After the release of "A Day on the Beach", it was a sensation. The new film language, the new narrative method, and Yang Dechang's unique precision and pessimism about human society, everything is too different from the previous Chinese films.
Lin Yihua saw Zhang Aijia in "A Day on the Beach" with a completely different impression from her impression, in which Jiali, played by Zhang Aijia, felt her husband's betrayal, and there was a scene where Carrie washed dishes by the sink, she suppressed her excitement until the last moment, sweeping away all the dishes and began to question her husband in the collapse. A woman's reluctance was reflected in that outbreak. "You must know that it was still the era of Qiong Yao films," Lin Yihua felt that the films of that period showed the ambition of filmmakers at that time to touch the social reality and the truth of life, and he was also sensitive to the fact that Zhang Aijia "changed from passive to active in this process, that is, to cross the kind of masking or anesthesia caused by Qiong Yao films, and bring real life to the audience."
1983, film "A Day on the Beach"
But the emergence of any new force must be accompanied by containment and incomprehension. Jiao Xiongping still remembers the rejection of this new force by the outside world at that time, "mercilessly attacking us all, and personally attacking us." The speeches were very ugly, and at that time they were all scolded, saying that the movies were all black and invisible, and that the movies didn't know what the story was about, that there was no story, no head, no tail, and they all said strange things."
At that time, the market and the audience were not ready to understand and embrace this group of young people. Jiao Xiongping did not communicate with Zhang Aijia, and later she left Hong Kong again, was the situation at that time that hurt her heart, "I think it takes a lot of courage for you to face these things, that is, did I do something wrong?" What's going on, we're so genuine about making movies, we're getting so much applause overseas, we don't believe that what we're making is wrong, why are you doing that?"
Go inside
While she has no intention of creating history at work, Zhang Aijia still loves to cry, drink, and indulge in love. When she was young, her girlfriend Zhang Xiaoyan was Zhang Aijia's eternal emotional trash can, she always couldn't figure out which Zhang Aijia's current one was, but every time she was drunk, Zhang Aijia would pour bitter water with her, others loved to be injured once and grow up once, Zhang Aijia loved to be injured once and come again again, often drank too much, Zhang Xiaoyan drove to pick her up, Zhang Aijia held a big tree and did not let go: "I don't want to go home!" Or jump on the table and dance your teeth and claws, "Hey! Zhang Xiaoyan! You just can't play!"
The matter of "love" is very simple in Zhang Aijia's world, when a boy can play guitar or piano when she is young, she hates not being able to pass out immediately. A man's obsession with his job is also a reason to make her heart move.
Later, the young ones grew old. People enthusiastically analyzed the gossip behind Zhang Aijia, and Yingying explored her experience with the talents.
On the beach side of the last issue of "Nian Nian Youth", there are also young people who can't help but be curious, Zhang Aijia is still calm, "Everyone knows what can be known."
In the 1980s, Zhang Aijia once said, "You can't fall in love for a day", considering that the collective heart of women at that time was still "falling in love with a person who does not go home, waiting for a door that does not open", Zhang Aijia's initiative and calmness have a strong avant-garde color. She is brave to love and brave to share, brave to make mistakes and brave to bear, enjoy the vigorous at the same time, but also absorb the nutrients given by the talents.
Before "A Day on the Beach", Zhang Aijia was more of a director in the film, but Yang Dechang let her see another possibility of the film, she talked to Lin Yihua about the other party's influence on her creation, "He really opens up your other world." You don't think about thinking in this way at all, that way of thinking is completely unfamiliar to you... He just does things to get the actors to go inside."
"Walking to the heart" has become an unchanging core of Zhang Aijia's future creation. But at that time, the Taiwan market did not welcome this group of young people who were completely addicted to the world of themselves, and after frequent setbacks, Zhang Aijia resigned as the director of Taiwan at New Art City. At this time, the path of life in front of her and her companions also diverged, Yang Dechang and Hou Xiaoxian continued their respective legends, and Zhang Aijia chose to settle in Hong Kong. Behind her, the fire that had brought her burned spontaneously, and gradually burned in the years that followed.
In 1986, after years of study and preparation, Zhang Aijia launched her directorial debut "The Favorite", a film she wrote and directed herself, which finally won Zhang Aijia a golden horse and gold statue double film.
In 1986, Zhang Aijia made his directorial debut "The Favorite"
In the same year, Yang Dechang made "Terrorists", Hou Xiaoxian launched "Love Wind and Dust", Jiao Xiongping felt that it was an era of great unity and brilliance, "At that time, everyone was full of pride in Taiwanese films, and with my experience of walking the world, of course, I knew that saying that these two films came out was worthy of any film movement in the world." In contrast, Zhang Aijia took a different path, "She later made films such as "The Favourite", and in terms of form, she did not have the narrative method of the new film that was so fractured, but Zhang Aijia was amazing that she dug into the hearts of women."
At that time, when I went to participate in the film festival, everyone often got together, plus the fifth generation of filmmakers in the mainland, everyone drank beer together in Germany, and envisioned the glory of Chinese films in Venice tomorrow. Jiao Xiongping forgot once met Zhang Aijia in which country, when she took her mother together, two old friends chatted, adolescence was over, the girls of the past had their own careers and lives, "In fact, we all knew everyone's strengths and weaknesses at that time, I thought of looking at each other and smiling, and no one remembered who hated or disliked anyone, it was a very fun experience."
From the creative level, Jiao Xiongping feels that Zhang Aijia's attention to the Chinese film industry lies in her unique female gaze, "She is another tree, she pays more attention to women's hearts, she likes to pay attention to some of the inner activities of some women, as well as her social role." That's basically what she cares about, and her intentions are very clear, which is women and female characters."
At the end of her "20 30 40", Lily, played by herself, stands alone in front of the mirror, which is a woman behind closed doors, she is in her 40s, abandoned by her husband, reunited with her lover, life looks like it is going to end, she holds a razor, desperate as if to cry, and her mouth repeats "I am an abandoned woman", when all the viewers think That Lily is going to commit suicide. An earthquake struck, and as if she had received some revelation, she shrugged her shoulders, proudly raised her arms, and shaved her armpits. The spectacle of the female world is evident in her films.
For a while, the Hong Kong and Taiwan media liked to call Zhang Aijia a "strong woman", which made her unhappy for a while, and she reiterated again and again that the titles of strong women and female directors actually implied discrimination, "Don't call me a strong woman, I am a woman."
Jiao Xiongping always remembers that in the year of "20 30 40", she met Zhang Aijia's crew at the Berlin Film Festival, and Zhang Aijia took Liu Ruoying and Li Xinjie, two apprentices, to walk happily on the red carpet in the cold wind of Berlin. In the middle of the cocktail party in the evening, everyone held up their wine glasses and chatted in pairs, "The three of them suddenly sang and sang, especially happy, I felt very happy, so cute three people, so beautiful, so happy!" 」
Specific
In 1992, Li Zongsheng, the eternal "Little Li" in Zhang Aijia's heart, produced the album "The Price of Love" for her. Many popular songs like the wind and the past, into the times, "let's go, people always have to learn to grow up on their own, let's go, life will inevitably experience painful struggles".
Cover of the album The Price of Love
In 2006, Lee Chung-sheng held a "Rational and Emotional Concert" with Zhang Aijia as a guest. At about the same time as the New Film Movement, Zhang Aijia picked out Xiao Li who sent gas in the vast sea of people, and wrote another good story in the music world. In the year of "Tomorrow Will Be Better", Xiao Li was still the harmony of everyone, 20 years later, he became an emotional master, and in the middle of the talking link, Zhang Aijia directly asked the sullen Xiao Li, "Have you ever loved me?" Everyone, including my husband, wants to know." It provoked Li Zongsheng to speak incoherently on stage.
At the beginning of the concert, Zhang Aijia stepped off the high platform wearing a knight's hat, jeans and a bling bling vest, laughing and talking about the scandal between the two, "You all guessed wrong about us." The lights went out and on, and Li Zongsheng on the stage played the guitar and sang the first song of the most important concert of his life.
When the outside world looks at Zhang Aijia, she always looks like a light and cloudy wisdom. Zhang Aijia told "Characters", "What is the matter, the heaviness of this life from generation to generation, weighs on us, we still have to become a healthy and healthy person, how many layers of skin do you want to shed?" 」
The grand adolescence is over, and what remains outside is the secret story of shadows. Back to Zhang Aijia's self-world, she wants to be a mother, wife, daughter, ushering in a woman's 40-year-old, 50-year-old, 60-year-old.
"Remember her 17-year-old wish to have a litter of children. Preferably 5, you can form a choir. Because she loves anyone who knows music, especially a boy who doesn't talk much and can play an instrument." Zhang Aijia summed up her wishes when she was young, but the dream of her five sons did not come true, and in 1990, her son Oscar (Wang Lingchen) was born under the continuous close surveillance of the Hong Kong paparazzi, and the 37-year-old Zhang Aijia entered a new stage of life.
"I think she's also quite changeable, and over the years, she's also very emotionally rich." As a mother, there is an intellectual side, and there is also a moment of wild and dashing. My interaction with her is certainly a bit like a good friend's state now." Oscar, who now has her own design company in Shanghai, describes her mother to People, "but sometimes when she nags, it's like a mother they nag, eat without eating, don't stay up late, drink less wine is these, just an ordinary person." 」
In Oscar's narrative, Zhang Aijia likes to cook, the most proud is the casserole fish head and lion head, Zhang Aijia's ancestral home is Shanxi, dumplings and fried sauce noodles are also a must. Growing up, except for the occasional group photo when going out, in Oscar's memory, my mother was a very ordinary mother.
The only difference is that his mother taught him to be independent at a very young age, "From a young age, you must work, you must earn your own money." 」 When Oscar was 9 years old, Zhang Aijia arranged for him to go to a children's clothing factory to nail labels, did more than two months, and commuted normally with the workers in the factory. "She taught me to be independent from a young age, and she probably felt that life is independent, so now we can communicate on the same level, and being her son feels like being her good brother." 」
Art director Wen Nianzhong has cooperated with Zhang Aijia since the "Heartbeat" period, and has also cooperated with Xu Anhua many times, "Xu Dao is particularly girly, especially like a little girl. But Sister Zhang is not a little girl at all, this is not an age, because Sister Zhang is a director who is very good at taking care of everyone, every group or whatever, she especially takes care of everyone's needs or something."
Wen Nian sometimes wondered where Zhang Aijia had so much energy. A few years ago, her mother had her 90th birthday, Zhang Aijia specially found a beautiful photo of her mother when she was young, the photo had turned yellow, she asked Wen Nianzhong to help repair, what cook to use for the banquet, what dishes to cook, what band to invite, all of which were handled by Zhang Aijia. In Hong Kong, my mother is a famous beauty, so beautiful that every time Huang Xia saw Zhang Aijia, she couldn't help but say, "Your mother is 100 times more beautiful than you." It is not easy for a beauty to be happy, when a beauty is her own mother, it is even more difficult to make her happy, and the admiration of Zhang Aijia in the text is also in this, "In fact, taking care of the elderly is quite tiring, because sometimes some things are unreasonable, but you still have to solve the problem and arrange things well."
Zhang Aijia is also the mother of Wen Nianzhong's daughter. When her daughter was born, Zhang Aijia told Wen Nianzhong that she wanted to admit her daughter, "I thought she was joking, and as a result, the child was full moon, and she really prepared a golden bowl of golden chopsticks in accordance with the customs of Hong Kong, and I was shocked when she took it out during the meal.
Over the years, the two families often eat together, and Wen Nian simply did not see that any woman would love to cook more than Zhang Aijia, "For example, if she invites guests to dinner, she will spend a whole day." She wouldn't go to one wet market and buy the day's food, she might go to several different markets... She might have been busy all day for a meal to make everyone eat well."
In Tian Zhuangzhuang's eyes, Zhang Aijia is a particularly specific person. He remembered one time, Zhang Ai Jiaxing rushed to tell him that her husband was particularly fond of red wine, was an expert, and the two of them had wrapped a vineyard in Spain, "and then she told me, Oh, go pick grapes, go to press grape juice, make wine, it's really very interesting."
In Tian Zhuangzhuang's eyes, Zhang Aijia is a person who is full of interest in life all the time, no ambiguity at any time, she always has the ability to make herself beautiful, "This is quite remarkable, I think Asian directors, that is, domestic, I know, one is her, one is Chen Chong, I think there is a kind of body, that is, a special special temperament that is born." 」 "She is very specific as a woman, as a daughter-in-law, as a mother, as a mother, as a daughter is a particularly good daughter, including as a director, every identity she is particularly specific, she does a particularly good job, every one of her lives is particularly accurate, which is particularly remarkable." 」 Tian Zhuangzhuang said.
But among these specifics, none of these identities engulfed Zhang Aijia himself. In an interview, the host asked Zhang Aijia which of her many identities was her favorite, and she thought about it and replied, "Be myself."
There may not be an answer
Many people think that Zhang Aijia is lucky, so he can be himself. The labels of intellectual elegance on her body are also accustomed to giving the impression that this is a woman with bad luck, born into a famous family, with a smooth ride, and is a legend. But there is no dark side to no one's life.
In 2015, CNEX produced the documentary "Soaring Sky", and Chen Lingzhen invited Zhang Aijia to act as the voice of Lin Huiyin in the film. During the War of Resistance Against Japanese Aggression, Lin Hui formed friendship with several young pilots of the Central Aviation School on his way south to Kunming, because these pilots had no relatives or friends in the rear, and Lin Huiyin became their temporary parent, and during the period of going south, one death notice after another was sent to Lin Huiyin's sickbed, including Lin Huiyin's third brother Lin Heng, who was also studying at the Central Aviation School.
In "Soaring Heaven", Zhang Aijia wanted to suppress the pain in her heart, reading Lin Huiyin's "Crying Three Brother Heng", "Brother, I have used these many unbeautiful words, counted as poems to mourn you, to believe how bitter my heart is, how dumb my throat is, you will never come back, I know." I fully understand why I am still crying for you. Just because you are still a child, but you have not left anything for yourself, and the portraits of thousands of people have forgotten, you died for whom."
Zhang Aijia cried while recording that day, once desperately trying to curb her emotions, Chen Lingzhen was still unclear about the inside story, only felt that the impression of the elegant and detached Zhang Aijia, "It turned out that there was a lot of pain in my heart, and that pain has always been there."
When Zhang Aijia was more than one year old, her father, a pilot, had an accident while on a mission in Hsinchu, Taipei, and was killed in a mountain crash. Zhang Aijia has no memory of her father, only questions, and when recording "Thirteen Invitations", she talked to Xu Zhiyuan about this question, "Is this bloody heart worth it?"
Like many air force veterans, my father was buried in Taipei Bitan Cemetery, a remote, less populated place. Zhang Aijia did not know much about his father, a native of Wutai, Shanxi, who was only 33 years old when he died. In Bitan Cemetery, many young people like their fathers who left home and died in other places, the tombstones write their ancestral homes, the year of birth and death, and a person's short life is like that. One year Zhang Aijia visited her father's grave, found that a tree was cut down after death, the scene was overgrown with weeds, a mess, Zhang Aijia was very sad, found the administrator of the cemetery, the other party told her that the whole cemetery was only taken care of by him, "I was sad at that time... They are all such young children, and they don't have such a piece of stuff for him, that is, we are Chinese often talk about the end of respect."
This kind of "is it worth it" question from the childhood to accompany Zhang Aijia to the present, everyone feels that she was born with a golden spoon, but the first lesson taught to her in life is parting and bitterness, and it is a huge void that objectively exists after the absence of intimate relationships. When she was a child, she grew up with her grandparents, and there were many children in the same situation among her playmates, "Of course, we all survived, we are still OK, but I have always had such a question, that is, I think it is why?" Is it worth it?"
Zhang Aijia has been willful since childhood, and most of the things she does will not be hindered by the family. Only once, on a whim, she wanted to learn to fly a plane, and her mother, who was so beautiful that she couldn't reach it, chased her all the way to the tarmac, scolded her, and told her that if she dared to fly a plane, she would break off the mother-daughter relationship with her.
For many years, she has been trying to write a script about her father,Not that epic setting, it's still Zhang Aijia's way of looking at the world, the young people who flew to the sky in the chaotic world, what happened to their later lives?
Zhang Aijia couldn't tell whether she lived every day very thoroughly, tried to be good to everyone, was always highly vigilant against hatred in the crowd, and had an irrepressible desire for love in her life, whether it was related to this lack in the early days of life.
Although she has lived in all kinds of hustle and bustle along the way, Zhang Aijia understands very well that people are always lonely creatures, and a generation has the heaviness of a generation, and a generation has the fate of a generation. She liked a clip from Tian Zhuangzhuang's film Wu Qingyuan, when Tian Zhuangzhuang invited her to make a cameo appearance as Wu Qingyuan's mother, and there was a scene where she had to wait for Wu Qingyuan to come home. In the midst of a wandering fate, how does a woman cope with such moments?
Zhang Aijia was very impressed with Tian Zhuangzhuang's handling at that time, after the lights were turned on, all the machines and personnel were pulled far away, leaving Zhang Aijia alone in the dark corner waiting.
Zhang Aijia mentioned this moment, the heartache of a mother in the chaotic world, and the heartache of Tian Zhuangzhuang as a director, she felt something in that moment. Zhang Aijia once described Tian Zhuangzhuang as making "Wu Qingyuan" "chicken soup without a trace of chicken fat", and he hoped that the film would be clean, and he would like to sacrifice himself for this clean. But times are changing rapidly, and their generation's habit of delivering movies is most likely to be disappointed.
So when it came to "Love and Blind Date", she said that she would also drag Tian Zhuangzhuang back to the movie from the vast sea of people. In "Love and Affection", there are several scenes in which Zhang Aijia and Tian Zhuangzhuang walk on the construction site, all traces of the old days are disappearing, and two elderly people, in the construction scene of the huge new world, are looking for it in vain.
Pessimistic people are more likely to see "futility", but for optimist Zhang Aijia, "searching" itself is important. Four years later, there is still no answer to the question about "a heart of blood", the script is still being revised repeatedly, friends around her keep telling her, "hopeless", Zhang Aijia also inevitably has various worries about the real world, but the more worried the more you have to "do something", this passion is not worth it, tomorrow will not be better, "may be the answer we have been looking for all our lives, but there may not be an answer."
2007, film "Wu Qingyuan"
Finish
In 2020, the 40th anniversary of Rolling Stone Records, Luo Dayou's manuscript of "Tomorrow Will Be Better" was re-released, and people found that this song that has swept through the music scene for more than 30 years and eliminated countless barriers, there is also a gray version, in 1985 everyone sang:
Gently wake up the sleeping mind and slowly open your eyes;
Look at the busy world, whether it is still there, turning around alone.
The spring breeze does not understand the style and blows the heart of the teenager;
Let the tear marks on yesterday's face dry with the memory.
The original version of Luo Dayou is:
Gently stroke the numb body and helplessly close your eyes;
This absurd world is still spinning black and white.
The spring breeze has dissolved the style and stung the heart of the girl;
The old torn scars will never heal.
At that time, Li Shouquan, the music director of Rolling Stone Records, saw the lyrics and felt that the gray and dark colors in the lyrics and the disaster relief songs were not in tune, so he found Zhang Aijia and several other companions, and everyone changed the lyrics to a more sunny version.
Luo Dayou "Tomorrow Will Be Better" creative manuscript
History happens in one way, and it cuts off the possibility of another. To this day, Zhang Aijia can no longer remember the scene of that year. But from young to old, one of the things that Zhang Aijia has been unwilling to give up is to use her own enthusiasm to neutralize the cold and cold of the world.
Many times, Zhang Aijia is happy to have a woman's vision of the world, she can clearly see the talents of men, but also understand their childishness and despair. But she sees the world herself, never as gray as they are.
In the year of filming "Wu Qingyuan", once in a restaurant in Hong Kong, Zhang Aijia saw Yang Dechang and his wife eating with their agent Chen Ziqiang. For a long time before that, I couldn't tell what the reason was, Zhang Aijia and Yang Dechang didn't speak. At that time, Zhang Aijia already knew about Yang Dechang's illness, and she walked over, "When he saw me, he came over and hugged me, and I hugged him and didn't say anything."
That was the last of the two good friends. Soon after, Zhang Aijia learned of Yang Dechang's death in the United States. Her brain went blank that day and she walked a long way home from outside. Back at home, she spread out a stack of paper and began to draw, Zhang Aijia was not very good at drawing, but at that time the whole person was only driven by a huge emotion, she painted a lot of scenes of them getting along, painted their 80s, "but painting a little I was a little angry, I think Yang Dechang's illness, why did he have this disease in the first place, is his own stubbornness about too many things, he is a person who is often angry with himself." He has so much talent, he can continue to do a lot of great things, but he is, his own brain, he is a child who has not grown up, he is very angry."
The Golden Age is over forever.
Many years ago, Zhang Aijia, Li Zongsheng, Lu Guanting and Lin Zixiang recorded a program called "Lu Zhang Lilin Music Office", in which Zhang Aijia asked everyone, why are there fewer and fewer songs to write?
Lin Zixiang said that all the songs have been sung, and it seems that what he wants to say has already been said, and if he says it again, it may not be very true. Li Zongsheng replied, "I don't believe in any eternal song, I write less because I have been able to give my best time, the best years, to my era, I have done all my strength, and the next thing is what people in this era have to do."
And Zhang Aijia used her life to prove that she did not fully agree with her old friends' views. "One thing that Yang Dechang is very powerful is actually the loneliness in his personality. One of the things that I think Sister Zhang is very powerful about is that how to stitch it together when something broken is a brutal woman for me." Lin Yihua commented so.
In the interview, Zhang Aijia talked about the fragility of men, whether it is the brilliant talents, or the ordinary men in life, "in fact, the heart is really quite fragile", she said that her grumpy grandfather, when she was naughty, grandpa got angry, "hanging up and taking the skin whipping", she was a long time older to react, for the grandfather's generation, home is in the mainland, left and right, home can never go back, the son is gone, grandpa's leather whip, in fact, is just an ordinary man's sadness and weakness.
Four years ago, xu Zhiyuan in "Thirteen Invitations" asked if he sometimes felt that your generation had stayed on the stage for too long, and Zhang Aijia frowned and replied sharply, "No."
Lin Yihua often felt that Zhang Aijia was a woman who jumped out of the limit. This kind of restriction has both time and space, she can open an era in Taiwan with the posture of a cultural hero, and she can also be an independent and dashing woman for decades in Hong Kong, which is happy to take the myth of the giants as the ultimate destination of actresses, and when she reaches "Love and Affection", she can erase the traces of "others" on her body and tell a story that happens in zhengzhou's urban and rural areas.
With Zhang Aijia in "Liaozhai", Lin Yihua set up three lines, the ghost always locked himself into the past Gu Ying self-pity, people always only look at the eyes and pass, only foxes can travel through different time and space, Miss Hu played by Zhang Aijia is such a woman who has traveled through different time and space, Lin Yihua said that Zhang Aijia gave him a lot of inspiration at that time, "because she has a lot of such a life experience, including she has actually seen others, and she has experienced it herself."
Regarding the time that has passed and the era of no return, Zhang Aijia has always seen detachment. She has always been fascinated by archaeology and for a time indulged in the study of Oracle. At the beginning of this year, she has been chasing the news of the restart of the excavation of sanxingdui, probably thinking that the media will have some insider information, and during the interview, she asked with big eyes, "Why did the news of the sanxingdui stop?" When I reached the eighth pit, I stopped digging, and I don't know what was dug next."
Artifacts that have been sleeping in the formation for three or five thousand years, when people carved birds and swimming fish on them, which made Zhang Aijia, who was guarding in front of the TV, feel particularly magical, "You can imagine that at that time, it may be a fisherman fishing, and then the birds fly in the sky, they carved down, connecting themselves with nature, or maybe expressing a yearning for freedom or admiration." 」
People will always disappear, but what people do will always leave some traces, this is the ultimate belief of the optimist Zhang Aijia, "the world will not change", "think but can not get, what do you live in", "this absurd world, still black and white without stopping", may be a fact, but in Zhang Aijia's place, even if there is rubble everywhere, planting a seed, it is always possible to drill a flower. Or even if you can't drill it, the process of planting can be happy.
Under the long sky
This time recording "Nian Nian Youth", Zhang Aijia pulled Tian Zhuangzhuang out again with a phone call. At the beginning, Tian Zhuangzhuang thought, the variety show was noisy, Zhang Aijia was tossing something, and the name was so literary and fresh. He went hard, just to help his old friend.
When he got there, he learned that the show was about Huang Yongyu. In the early years, Tian Zhuangzhuang and Huang Yongyu lived in a courtyard for many years, both of them loved to play, and they had a special personality, and a pair of innocent and naughty friends. In the program, Zhang Aijia specially picked out Huang Yongyu's "The Pain of the North" in "The Old Man Who Is Older Than Me", which commemorates Qian Zhongshu, and let Tian Zhuangzhuang read the poem written by Huang Yongyu to Qian Zhongshu.
Cry! forest!
Cry when it's time to cry!
However, you have no tears.
The tree with only the roots left is no longer alive,
So, today's loess is the past of the forest;
What is the use of destroying the forest and then Xia Yu to control the water?
In Huang Yongyu's eyes, "The culture of the motherland is like a forest, and Mr. Qian is a giant tree in the forest." When reading this paragraph, Tian Zhuangzhuang, who was accustomed to cynicism, was moved by feelings, and at the end of the section, he told Zhang Aijia that he did not record it, and he re-recorded it again.
After the show, the two sighed that the yard where Tian Zhuang grew up was originally a forest.
This is a certain dilemma that Zhang Aijia as an individual must face at the moment, and the legacy left by the golden age of that long journey is to connect to a wider world outward and explore her heart infinitely internally. But in the face of the tide of history, she must face the possibility of the ideal world shaking or even collapsing. This is the most anxious and heartache part of Zhang Aijia's heart after half a century.
What is used to resist this anxiety and heartache? Zhang Aijia's answer is still to do things, to live each day "concretely", which is the only possible way to resist as a "small" person in the tide of history.
Once listening to Li Zongsheng's "The Hill", "Before it can mature, it is already old, although the young man still lives in his heart." Zhang Aijia was very touched, saying that "Xiao Li", who is impossible for people to surpass his own time, is still doing things, "I like it very much, I think he is the most progressive person among these people, that is, you don't care if his works become colder, not commercial things, but he is a very attentive, you don't care how he writes, how he gets it, he just did it."
At the age of 68, in addition to the rapid changes of the times, but also the limitations of life itself, Zhang Aijia joked that she has reached the age of "hanging at any time", she does not believe that there are really people who are detached from the end of life, and the only way to resist fear is to "try to move forward and do more things". Four years ago, she presented Xu Feng with a lifetime achievement award, and while waiting for the scene, the two of them chatted behind the scenes, and Xu Feng told her, "You will get it one day." Zhang Aijia said that what she thought was, "I hope that the next time I come up, it is not because I have a lifetime achievement award."
Mom is in her 90s and sometimes complains about her. Occasionally, her friends and assistants would say why they had to do so much for themselves that they couldn't even sleep well. "I said I could do something and do it quickly, they said you didn't sleep enough, I said it's okay, I'll sleep for a long time in the future." 」
Huang Yongyu gave her a lot of encouragement. He made her really realize that young does not equal youth, old age does not mean not youth, sincere and lovely like Huang Yongyu, 97 years old, thinking is still smart and naughty young people.
When he went to visit his home, Huang Yongyu took out many purple sand pots that he made himself, one of which had Pan Jinlian painted on it, and Huang Yongyu carved words next to it, "Love, how about me?"
Huang Yongyu's life, experienced the clutches and sorrows of the war and chaos, but also witnessed the harsh impermanence of the times, when he was young with a group of people, and in the years that followed watched them gradually wither away, he wrote qian zhongshu, wrote his cousin Shen Congwen, wrote that they walked into their own learning in the wind and rain, people will always be old, will die, the arrangement of heaven can not be left and right, only themselves can be influenced.
After finishing her work in Beijing, Zhang Aijia went to Xining non-stop to serve as the chairman of the jury of the FIRST Film Festival. Before leaving Beijing, Zhang Aijia pulled Tian Zhuangzhuang again and went to see Huang Yongyu together. Originally it was just a simple goodbye, but that day, 68-year-old Zhang Aijia, 69-year-old Tian Zhuangzhuang, 97-year-old Huang Yongyu together, everyone has a bunch of stories, everyone has a bunch of romance and secrets, they talked and talked, from 4 p.m. to 9 p.m.
The question of how to spend life, Zhang Aijia felt that he had found the answer in Huang Yongyu, "After I saw Huang Lao, I was completely convinced, he is eternal youth." 」 At the age of 93, Huang Yongyu wrote a picture, and Zhang Aijia thought that the sentence was wonderful. Huang Yongyu, an old naughty boy, wrote, "Under the long sky, empty hands are always sad."
(Thanks to Wei Yufan for his contribution to this article)