<b>The author of this article is "Runaway Beast", welcome to the Douban App to follow Ta. </b>
1. Chen Kaige is perhaps the most metaphysical director of the fifth generation – almost all of his films are about "the most true", "the most good" and "the most beautiful", their coming, their destruction. And portraying this kind of coming and destruction is exactly Chen Kaige's best play. For this reason, Yang Yuhuan, the "most beautiful" avatar in "The Legend of the Demon Cat", died many times: died in the historical writing of thousands of generations, died in the wild news of word of mouth, died in the whimsy of The Lone Lantern in the snowy night of Baiju, and died in the planning of Li Longji's organs. For the young white dragon, the death of the noble concubine is the burial of love affairs; for the martyred black cat, the death of the noble concubine is the sweeping of human dignity; and for the Wuguo mage Kukai, this "death" is the blood on the lid of the sarcophagus when it is not enlightened, and this "death" after enlightenment is the supreme secret of the dream bubble. In this way, Chen Kaige set up a serial set and opened his Seven Treasures Letter. Every time Yang Yuhuan died, the string of death was pulled more full, and its hit would be more powerful. Chen Kaige was obsessed with the process of destruction and was keen to watch every moment of the fall of the "concept" without blinking. Yes, his courage is commendable. But, true adults never do that. It is as if socrates and his followers were stripped away in ancient Greek times to exhaustively ask, "What is goodness?" "What is beauty?" "What is bravery?" In modern philosophy, we are only more agroly, inlaid with these wonderful concepts on an empirical level, or, suspending them, avoiding them. Here's the thing: when the problem is very essential, humans avoid it out of fear of the answer. From this point of view, everything Chen Kaige did was like a child forcing himself to stare at a dark room alone, innocent and full of loneliness. 2. Needless to say, we Chinese have a preference for Datang. In the Tang Dynasty, people are like peach blossoms, dancing as a huxuan, horses with golden saddles, swords can cut jade, wine has a rouge color, and the wind at that time can break through the sky and go straight to the jade gate. In Datang, we see both politeness and vigor, how dashing, how somber, how beautiful, and how exciting. It was the youth of our entire nation, the spring when all things began. Spring heart is like waves, spring sorrow is like snow, and the sorrow and joy of all feelings are all over the place. Look, the infinite possibilities of the intersection of all things and joys and sorrows are already laid out here. Everything is growing and echoing each other. One thing excites another, one person stirs up another. Such swaying, so entangled, so inseparable spring love turmoil, so that the emperor can spoil his concubines among the three thousand beauties, so that the young man can fall in love with the mature woman in a few words. After that, those who sat in the world were in danger, and those who spared their lives sacrificed their lives. Oops, old aunt like me really like the young white dragon. Thinking about it carefully, the reason why he fell in love with it was only a light conversation that began with a wave of the noble concubine's eyes. Sigh, the ignition point is so low, and the burning is so intense, that is, the love of the teenager can be so. In my very limited experience and observation, this kind of relentless love, except when I was a teenager, can never grow up again. It was the killing of the years that had not yet come, and the wear and tear of fate had not yet come, because he did not know the existence of the shackles, so he could still freely wield the golden moment. It should be known that the world is impermanent, the life is ever-changing, and after middle age, it may be greasy and muddy to the point that you can't bear to recognize each other. If that person had the luck to meet a person when he was a teenager, and in an instant the cold hair was upside down, and the soul was shaking, and he fell in love with her like a depraved person, and lost the rest of his life, to tell the truth, who can say that what the white dragon chose was not a better fate? Liu Haoran also acted extremely well. With the performance, the only few outbreaks are also point to the end, precise in proportion, and never arrogant. When he sensed the noble concubine's "understanding" at the Feast of Bliss — he fell in love with her precisely because of this "understanding" — the camera gave him a close-up, which was the first time a teenager's love affair was stimulated, dense as snow, clear as bamboo, and completely fishy, which was really good. After the Ma Song Mutiny, he spent thirty years guarding the corpse of the noble concubine, and even did not hesitate to self-destruct to lead away the worms and attach the soul to the cat, just at that moment, he bid farewell to his own flesh, looking like a demon and a Buddha, and really called "deep affection, lonely intentions in the eyebrows." I have been lonely for a long time, after watching the movie, I quickly ran to search for the actor's resume, only twenty years old, even more amazing. But such a natural teenager is clear, IMHO, thirty-year-old people really can't act. In fact, the love in "The Legend of the Demon Cat" is very bad, almost can't be worse. Because the efforts of all the characters in it are invariably one-dimensional: Bai Long, Abe, Bai Juyi to Guifei, Guifei to Xuanzong, Danlong to Bailong. The cost of interaction between the giver and the beloved is extremely high, behind which is an endless dark game and a bottomless taboo. Is it love for one person to silently give up life, homeland and faith for another person in a long time and space? yes. But it's also very much like the hell of the "other is hell." Fortunately, the love of the young white dragon, although very sadistic and crazy, has been established, it has turned decay into magic, and it has lit up the gloomy atmosphere that haunts all the love relationships in the movie. I can even arbitrarily say that the white dragon is the soul of "The Legend of the Demon Cat", and if he loves even a little less, a little frivolity, a little bit biased, the story will collapse.
3. The women in "The Legend of the Demon Cat" are like pearl shells, born of their own brilliance. Zhang Yuqi is heavy flesh. It was as if her flesh had surrendered to her magnificence, and could no longer bear the weight of this magnificence. So the bright light flowed into eroticism, for desire, for the golden sand, for the magic, everything was downward, depraved, hopeless, until death came, and finally, like mercury pouring down, she suddenly became lighter. What's even more interesting is that Zhang's performance has a just right kind of stickiness, the tone and posture are sticky, lazy, lascivious, bringing out a strong but subtle cat feeling. Undoubtedly, the Chunqin played by Zhang is the mirror image of Yang Yuhuan, just like Qingwen in "Dream of the Red Chamber" is the mirror image of Daiyu, intertextual to each other, two candles, is a paradoxical insight into fate. Remember that? Chunqin's debut in the film is a casual lookback. It was a moment when the wind was blowing and the clouds were blowing, the beauty was as beautiful as silk, the color was like spring dawn, and there was the turmoil of the waves. Looking back at a smile, this is a subtle clue deliberately thrown out by Chen Kaige. Therefore, Chunqin's brilliance is necessary, and her death is also necessary--her bright light is inevitably pointing to Yang Yuhuan, and her death will also be destined to become a replica of Yang Yuhuan's death. And Yang Yuhuan is even more of a beautiful existence. It is true that the whole feast of bliss in the Calyx Xianghui Building was only to set off the beauty of the noble concubine's nuclear explosion that swept through a thousand armies, pouring the country into the city, and creating a kind of emptiness. But more importantly, she understands everything, but loves everything; sees everything, but forgives everything. Such a female image can almost be said to fill a gap in the history of Chinese film - the mother goddess paradigm. In history, Yang Guifei was extremely good at dancing, the pipa and the chime were all exquisite, and when playing, she created her own voice, which the disciples of Liyuan could not reach. Essentially, she is an artist, and she is an innate talent to be perceptive to everything in the world. Chen Kaige magnified this point, portraying this woman in the vortex of power, the compassion born of understanding, the mourning born of compassion, the extinction of the form and god because of mourning, and the eternal coldness. She resonated with Bai Long's life and said to him, "Sending people under the fence, but let me be kind to others, and I want to repay every bit." You too, right? She cherished Abe Nakamaru's love, and without a word, she did her best. She also understands Li Bai's writing, "Yun wants to dress and flowers and wants to look" Is it made for one person at a banquet? Beauty, wine, feast, all are only the organs that trigger the article, and the article is extremely emotional, flowing, triggered by the opportunity, but it is not limited to that opportunity. Therefore, she did not think anything of it at all, but turned back to Li Bai and said, "Datang has you, it is really remarkable." It is precisely because of this that her death can be mourned by Chen Kaige as the death of the mother goddess. —— In the decadence of Ma Songpo, a ladder up and down, the men plotted her death, and she sat in a fancy dress, listening to the teenager's blowing. At that time, the full moon of Tianxin and the fog of sorrow were all over Hualin. When she heard Xuanzong's decision, her eyelids jumped slightly, but still, shunningly, handed him a sachet containing a wisp of green silk. She fulfilled his dignity, and even more fulfilled his bliss as an emperor—he wanted to be alone, even if he died, with love and expectation for him. The overhead shot that quickly pulled up against the corpse of the noble concubine was gorgeous and painful. Thousands of horses ride by, an empire falls, and the woman who once cared for this empire with a kind heart will face her hell alone. The noble concubine was Chinese New Year's Eve eight years old. Life is like the wind and dust, as brilliant as a noble concubine, and cannot escape. There is a sentence in "Dream of the Red Chamber", which is deeply appreciated by this situation, "Say what, the peach in the sky is flourishing, and there are many apricots in the clouds?" At the end of the day, who has survived the autumn? Yang Guifei has long been elevated, distilled, and purified as a symbol to refer to the prosperity of the Tang Dynasty, and she herself should be aware of this. Therefore, even in the time of bliss, there was still another layer of sadness in her expression. How can a mortal bear the weight of an era? Only to die.
4. Emperor Xuanzong distributed a drumming section, which was completely a piece of Chinese color. Next to the wine pool, An Lushan rhythmically moved his fat body, like a beast, like a meat mountain, and a shadow-like existence. His desires, his murderous intentions, and his disobedience have all become facts, and they cannot be made clearer. Between the drums and dances, the confrontation between the emperor and the courtiers is thrilling. At the end of the song, there was already magic in the eyes of both of them. The feast was about to dissipate, and the clouds of war were already approaching. Joy to the extreme turned into great compassion. The Feast of Bliss was originally a grand illusion. In the story, it was Tang Xuanzong who presented it to the world; today, it is Chen Kaige who presents it to the audience. And we, the admirers of the tang dynasty, have all been skilled. Chen Kaige has always been willing to preach through movies. Therefore, the protagonist of "The Legend of the Demon Cat" is neither a noble concubine nor a black cat, but the poet Bai Lotte and his "Long Hate Song". It exposes Bai Juyi's bitter chanting, recourse, and even the stereotype of "not changing a word" when he wrote "Long Hate Song". The flame of the article is so grand that it even grows longer than the shadow of the old sin and the slaughter of the long crowd. The truth of the death of the noble concubine is the manipulation of power and the fall of symbols, but it is also the ultimate perfection of the young white dragon's sincerity. This is the subtle true meaning in the monstrous illusion, and it is also the reflection of Bai Juyi holding the Wind and Moon Treasure Book, and it is also the white bone view that Chen Kaige has devoted himself to asceticism. Xu Bing has a series of works called "The Story Behind the Scenes", which is just a mutual reference to the film, and I like it. Across the scene, it is the inheritance of ink paintings, such as "Fuchun Mountain Residence Map", such as "Yanjiang Stacked Mountains", such as "Autumn Mountain Xianyi Map", on the contrary, it is the stacking of garbage, plastic bags, brooms and cloth strips. Color is emptiness, emptiness is color, and it should be viewed as such. There is also truth in magic. Find the truth, hold it, keep it, so that you can be like the mother who holds the baby, and because of the unshakable determination in her heart, she can swim through the boundless sea of anger. How should people cross themselves? How should a black cat full of obsessions give these thirty years of color to the soul and transform into the transcendence and flight of the crane? The poet Bai Juyi and the mage Kukai have both penetrated in their own ways. 5. Everything that has a way of doing, such as a dream bubble, such as dew and electricity, should be viewed as such. 2018-02-03
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<b>The author of this article, "Runaway Beast", now lives in Beijing, has published 84 original texts, and is still active in the Douban community. Download douban app search user "runaway beast" to follow Ta. </b>