These days by Yang Mi's divorce incident dominated the screen, this kind of "hot" news that appears from time to time, washed away the eyeballs of the melon-eating masses, just like watching a bad movie, no matter how boring, sometimes it is difficult to avoid its troubles. However, from Liu Kaiwei and Wang Ou's "late-night reading of the script" to Yang Mi and Li Yifeng's "flying in the sky", they can finally go to a paper statement without losing their harmony, and fans on both sides are celebrating and happy, which shows that Yang Mi's "acting skills" are not wasted.
Whether they can win the "Best Divorce Award" is unknown, but Chen Yufan and Bai Baihe should not be able to be nominated for the annual "Best Ex-Husband" and "Best Ex-Wife". Before finding out about drug abuse, Bai Baihe was pointed out by thousands of people for "one finger Zen", and he did not expect that Chen Yufan jumped out to make a heartache and quit the entertainment circle in a high profile. Now it seems that the slightly exaggerated move has a bit of a sense of atonement for the ex-wife to bear the notoriety alone, while Bai Baihe's silence is Jin has a bit of a playful sense of burden. Unfortunately, in the end, it cannot resist the temptation of fame and fortune, and it is humiliating to renege on words and then mix rivers and lakes.
In the drama of life, our entertainment stars have improved a little after all. Huang Yi and Huang Yiqing's long-form serial dog blood tearing each other apart, Wang Baoqiang and Ma Rong's climactic love-hate feud, will eventually make people tired of looking at vomit, it seems that a thousand calculations do not give in to each other, and in the end the two ugly lose more than they lose.
Divorce or breakup, after all, is the arsenic of the other, my honey, can not be forced, do not have to force. It's just that people have gone, the tea has cooled, how should we face each other? In this matter, the story of the star is too realistic to inevitably appear panicked, but in the movie where the star appears, the emotional tragicomedy can make people forget the troubles and gain insights.
Some people say that among so many directors who are good at portraying emotions, the most affectionate and ruthless is Ozu Yasujiro. In his extremely restrained expression of emotion, there is the most secret child love. And can break these movies apart and crush them to see people feel the same as the shooting case, in the seemingly bladed sword without a trace of the brushstrokes always lurk a little unbearable, in addition to the hair tip, who else can there be?
See how Ozu wanders between the past and the present, and see how Mao Jian lingers between Ozu and reality. Let's pull the camera a little farther away...
I am often asked which movie Ozu likes the most, and I sometimes say "Late Spring" and sometimes "Tokyo Story", because after saying that, the other party will not ask why, but these two movies are too famous. But come to think of it, the Ozu movies I've seen the most times are Floating Grass Story (1934) and Floating Grass (1959).
"Floating Grass Story" is black and white, and the remake of "Floating Grass" is color, and the two films are twenty-five years apart, which shows how much Ozu likes this subject. In Ozu's films, the story of floating grass is complicated: the village ushered in a wandering drama class, but unfortunately, there were only a few scenes of liveliness, leaving a scattered elderly audience.
The owner of the class is good, running to the old lover's house in the village every day, he and the son of the lover are already adults, and there will be a great future, so that he has the idea of stopping wandering, although the son has not known that the man he calls his uncle is actually the biological father.
This matter finally let the class owner's drama lover know, the current lover is very angry, she instigated the drama class girl to seduce the class owner's son. Soon, the son and the maid fell in love with each other, the son's life was deciphered, and the drama class could not be maintained and disbanded. Everything paved the way for the class owner to stay with the old lover.
There are no changes in the plot of the two "Floating Grass", the lines are basically the same, and the color of the color version may be the most beautiful in Ozu's films, but in hindsight it is more sad than the black and white version. In one scene, the lover of the drama class heard that the owner of the class was originally stranded in the old lover's house, and she immediately set off to get someone. On a rainy day, the class owner is enjoying a rare father-son game moment, and the old lover says that someone is looking for you below.
The class owner went down to take a look and angrily dragged the spoiled current lover away. Heavy rain, the class owner stood under the eaves of this side, the drama class lover stood under the opposite eaves, her umbrella was bright in color, her face was as beautiful as a peach blossom, she angrily counted the number of times that she helped the class owner get through the difficulties, "Have you forgotten!" "The class owner played by Nakamura Yanjiro really played the solemnity and embarrassment of a jianghu drama, he walked around under the eaves, taking steps and scolding the bitch. Both of them handed knives to each other in a decisive way, plus heavy rain, changing other directors, how tragic this scene would be, but Ozu injected a strange lyricism into the picture at this moment, and the feelings of this pair of theater lovers were also understood by us at that moment: Ah, it turned out that the class owner was not lusting after the beauty of the theater lover, they experienced ups and downs together.
Ozu's "rain curtain" was later learned by many directors to express the inexplicable situation of the world, such as Tarkovsky's rain and Hou Xiaoxian's rain, both of which are rains in Ozu's emotional system, but Tarkovsky's rain is colder and Hou Xiaoxian's is warmer. And I see Ozu's rain as his attitude to affair: for life, rain is both unexpected and necessary, destructive and lyrical, cruel and warm.
In the 1959 color remake, Ozu changed the background of the floating grass story from the original inland village to the seashore, and the whole film is filled with a full of water vapor, and the cloth signs of various small shops have been hunting in the wind. Such a climate, for the class owner who is about to enter the downhill road of life, is really a sweet temptation, plus, the son has become an adult, the lover has been as full of hope as the old wife that he can stay forever this time, although, in the face of the sudden uncle becoming a father, the son can not accept it for the time being, but the temper of the young man is not a thing at all. However, at the end of the film, Ozu still let the lonely class owner continue on the road, and the son who figured it out wanted to chase him, so that his mother stopped him, "Every time, he left like this." He had given himself to the main road, and "floating grass" was the sex and fate of the wandering drama.
When the owner of the class came to the evening waiting room, he wanted to smoke a cigarette, but he couldn't feel a match. At this time, someone handed him a fire, which was his drama lover. The owner didn't want her fire, she insisted on giving, a match extinguished and she drew another one, and finally he wanted it. She sat down beside him, took his cigarette, and lit one for herself. Then she persevered and asked the class owner where to go next, and the class owner replied after emotional silence, going to Kuwana. The lover's face lit up and said I want to go with you. The class master acquiesced. The next time they were already on the nocturnal train, she poured him wine, and his face was content, and her face was even greater satisfaction. The people in the carriage were sleeping, and they were enjoying the incomparably warm night, and the orange-red lights outside the window of the car skimmed over the face of Kyo Machiko, who played the lover, and she was gentler and better than the night.
What a beautiful night, the train rumbles forward in the blue night, and the two orange-red headlights are simply a high-pitched lyric. However, at this time, what is the old lover who was left in place by the class owner doing? She is old, and her son has his own lover, but Ozu does not let us think about it anymore, and a "final" is played on the linen. Let us send all the blessings to the reconciled drama lovers, for them, duckweed wandering is the norm, stable life is the "affair", this, the old lover in the seaside village not only understands, but also understands. It's Ozu's understanding of love and women, who have never been married for life, and he lets the train take away a pair of lovers who seem to be more powerful and fight against life.
At this moment, the train really reached the peak of warmth, but in hindsight, I felt that sadness was better than warmth. Well, like Ozu, we stop here and never allow ourselves to sink in our sad emotions.
"Long Night Dream: Mao Jian Looks at the Movie"
Author: Mao Jian
Between film and life,
We read Mao Tip.
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Editor: Huang Hong
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