Li Cangdong's films are not many, in 1997 as a director, he has only directed 6 works, but each one is very deep, and every Korean domestic or international award has been harvested, so he is also a film master (South Korea's status includes Kim Ki-duk, Hong Sang-so, Lee Cangdong, and it seems that there are only Chen Kaige and Zhang Yimou in the mainland, and now the strength of eating the old ben is also about to become a pseudo-master).
Li Cangdong
When filming "Green Fish", Li Cangdong was obviously not yet a master, although he had some shapes, but after all, he was the first feature-length work, and he wanted to say a lot, and the focus was big and small, and he couldn't be sure.
Watching the film directed by Lee Cangdong, it is interesting to see a lot of Korean A-list actors who are young and astringent, I must admit that "Green Fish" from beginning to end, I did not see which one is Song Kanghao, hahaha, really laughing to death.
At that time, Emperor Song was still just a little brother
"Green Fish" from the beginning to the end, I did not see which one is Song Kanghao, hahaha, really laughing to death.
And because of the transliteration, I just always felt that this guy who played "Green Fish" Han Shikui was very familiar, but I didn't associate him with the gentle and introverted photo studio uncle in August Photo Studio. The way these top stars looked when they were young, they jumped into my eyes like this.
I have always liked director Kim Ki-duk before, and then, director Kim said that director Lee Cangdong is the director he admires the most.
The red silk scarf at the beginning of the film symbolizes Mo Dong's ideal of love. The ideal red silk scarf, floating from the air, draped over Mo Dong's face, his brief age of 26, briefly changed something, but buried himself.
Since mei ai followed the underworld, why not do something when Mei Ai was sent into the hands of another boss, just watching, was it out of obedience to the big brother? Mei Ai asked him if he wanted to go back, and the subtext was to let him take her away! You pour well, of course go back. The most romantic thing he did was that Mei Ai sang on stage, was scolded by drunkards, and did not want to step down, and Mo Dong went to the nightclub to solve the problem. The first sentence asks: Who scolded? The drunkard stood up and continued to scold Mo Dong after waving his fist, walked to the front of the stage and reached out to Mei Ai and picked her up.
As a writer and director, Li Cangdong understands the definition of poetry and film in this way: "What is poetry is the same as what movie is, and now, I am using the latter to answer the former." In his films, an important means of switching between poetry and reality is the use of symbols and metaphors.
The most symbolic props in the film ---- lighters. There are as many as three shots of Mo Dong lighting cigarettes for others alone. The first time, Mo Dong encountered Mei Ai from outside the door of the nightclub, the latter was being entangled by the big brother and deliberately playing a small character, the ignorant Mo Dong stepped forward, saving the United States was not humiliated, the big brother's subordinate "Song Kanghao" beat him to nosebleeds and took out cigarettes to borrow fire, under the disparity between strength and weakness, Mo Dong could only obediently obey.
Big brothers who don't want to be philosophers are not good big brothers
The second time, because Mei Ai said good things, Mo Dong, who was arranged by the big brother to register in the parking lot, met with "Song Kanghao" again, song still used the fire as an excuse to find fun, because the big brother reprimanded him before that "young people have no backbone", coupled with the stimulation of just seeing Mei Ai's car crying, the young man finally hardened and knocked "Song Kanghao" to the ground with a stick.
And the third time, Mo Dong killed the enemy family for the eldest brother, and then met with the eldest brother in front of the ruins that were about to be demolished, in the darkness the eldest brother drew two matches, neither of which was lit, this time It was Mo Dong who took the initiative to hand over the lit lighter, and the flame in the darkness flickered for a moment, and then swayed and extinguished.
It is not difficult to see that the lighter connected with cigarettes was given manly bravery, backbone, dignity and bloodiness by Li Cangdong in the film, but what is intriguing is that Mo Dong won the appreciation of the boss because of this straightforward bloodiness, but he lost his life because of this blind bloodiness. The progressive extension from passive to active undoubtedly deepens this tragic color.
"Green Fish" shows the pain of South Korea's social transformation, in the face of the loss of traditional moral concepts and the collapse of values, Lee Cangdong found that the march of the times was irreversible, and could only choose a relatively conservative ending. Because of Mo Dong, the family moved together to continue living, which is the last good hope.