Han
Author: Rimbaud
"Ride the Wind and Waves", except for the slight connection to the word "Wind and Waves" at the beginning, the rest of the passages do not mention the pride and pride of navigating the sea and driving the waves, on the contrary, several protagonists basically cruise back and forth on the river without navigation markers, just like their decadent young lives in 1998. Riding the wind and waves is actually out of reach, but they have a dream of the future.
Originally, a title that conformed to Han Han's idol positioning and was full of "chicken soup atmosphere" should indicate that this film should cater to the ardent hope and imagination of success in China as a whole today, and the film as a whole should appear in front of the audience in the framework of an inspirational film, just like "Chinese Partner" in previous years. But what is surprising is that "Riding the Wind and Waves" is not comparable to the successful learning style, except for the marginal character pony, the whole article really tells the ordinary life of these small people who were ruthlessly broken by the big times before their dreams came true.
In fact, Han Han's reaction this time is inspirational success learning. The so-called "riding the wind and waves" is the prank-like smile hanging from the corner of his mouth on the "Spring Festival stalls and New Year files routines". When I understood this, I understood the origin of Han Han's creation.
The play "Riding the Wind and Waves" is divided into two closely entangled lines, one is a slightly fantastic father-son relationship, the other is a friendship drama between unemployed young gangs in the late 90s, one is about growth, and the other is about remembrance.
Still
For the former, I am actually a bit meaningless, the perspective and techniques used by Han Han are still the usual routines of genre films, this line is made up for the sale of movies, all the jokes and dramatic conflicts in the film are built around the "identity mistake", but I think that the line of father-son love is a little feeling produced by the collision and conflict between Han Han and his father around the racing career in the past, as for the ideal, the discord and reconciliation between the two generations is really the most frequent routine of youth films, and has not made any new ideas.
What I value is the latter, the turn of the century, the shaping of the small group of unemployed nomads in this special context of the big city town and the fate that awaits them.
What I value is that Han Han, who has achieved fame, really wants to justify the names of his friends who have been thrown off the ship in the era of drastic changes, and after too many unbearable people have developed in a more unbearable way, he is nostalgic for the era when there is still a little bit of friendship warmth, as described in the film, the distance between people and people does not require communication to communicate, but face-to-face communication; in the face of danger, it is not to dismantle each other, but to resist back-to-back times.
In Han Han's view, these things are as important as whether he personally realizes his ideals, and the slightly decadent and lazy, occasionally fighting and killing small town life is even more the sadness generated by him after looking back, there is no past, there is no future, and the trajectory of the times also proves the fate of the individual, not everyone has the ability to break through the obstacles set by the times. What Han Han wants to do is to pay tribute to his peers who have not been able to break through the siege at this stage from 75 to 85, and also to open his heart to them. The last time such an open heart was remembered, it was Jia Zhangke's "Platform" in the late 1990s.
After the new century, there has never been a mainstream commercial film on the mainland like "Riding the Wind and Waves", which patiently and meticulously tells the life of the "four no-man" youth, without ambition, without education, without occupation, without property, and stumbling on the edge of society. This kind of young life, which once existed in the small towns of China's big cities in the 1990s, has been ignored by the mainstream population that has later absorbed themselves, including their own mainstream groups, and perhaps a small number of them, only in independent films, but it has never been like this, which can be included in the mainstream vision of the Spring Festival.
I used to dislike the nonsense of "After Forever" and the boring contrivance of "imitating the hypothetical bohemian life", but I think that Han Han has made great progress in "Riding the Wind and Waves", and for the first time on the big screen, he really portrayed the face of the group of losers before the era. This kind of portrayal, even if it is commercially packaged with some boring passages and jokes on the surface, always opens its secret emotional entrance to the audience who has had the same past experience, only if you have a secret Loser life. When the mainstream values of society have been reduced to the standard of wealth as a measure, such group statues are precious.
Therefore, the most successful characters portrayed in the film are neither Xu Tailang and his father Xu Zhengtai, nor the pony who runs to career success and the abandoned gang member Luo Li, but the most loyal Liu Yi of Geng Jie, and his opposite, Huang Zhiqiang, who seizes the land by cunning. The reason why there is no such thing is precisely because they correspond to the reality of China's urban construction changes, and contrast with the past and present of the times. The death of June 1 is actually the loneliness of the community as a whole, their misjudgment of the development of the times, in the eyes of those who pursue utilitarianism in cash, is stupid or stupid, but in the eyes of Han Han, who is represented by Xu Tailang, it is the greatest bright color given to his life by those years.
I am also sure to play Gao Huayang of June 1 and Zhang Benyu, who played Luo Li, praising their almost authentic performances, we saw our former selves, no matter how loyal we were to friendship or love, in the years of tossing and turning, we also lost the most true self, only the most affectionate people, can really say and do, even if it is to run to a road of no return, I want to give them a glass of wine, a song.
Finally, I would like to say that the corresponding reference system for the technique and theme of "Ride the Wind and Waves" should be Fellini's "Wandering Child" directed by Fellini in 1953 and "Five Songs" starring Jack Nicholson in 1970. Nostalgia, existentialism and self-doubt, and the distancing of the times are all perfectly interpreted by these two films, and I want to excerpt a lyric from Five Songs here: "I'm not satisfied with anything, I don't know which is the real me, I don't know what I really want." 」 Since that's all I have to fear, take me anywhere, anyway, my life is already so fucked up. ”
In recent years, the nostalgic youth movies born in the Chinese market have almost all revolved around the campus and the workplace, and there are few other territories involved, and at the end of the year, there is a "Young Babylon" that involves the factory life of young workers in the 1990s, which has been very rare. The long-term narrow vision and routine creative methods are destined to produce different youth-themed films, which will be doubled by the market, the audience will redouble their chewing, and the media will redouble their discussion.
But I don't care about this, I just hope that the teenagers will stop worrying about whether they can get better, and only hope that they will never lose their childlike heart, which is what I want to say to "Ride the Wind and Waves".