In order to praise the century-old struggle of the Chinese nation to achieve great rejuvenation, and to further do a good job in the study and education of the history of the party, the history of new China, the history of reform and opening up, and the history of socialist development among young cadres, according to the relevant arrangements of the Fifth Beijing Youth Skills Competition, the Youth League Committee of the Beijing Municipal Bureau of Cultural Relics organized the classic film viewing activity of "Light and Shadow Looking at China - Inheritors of the Red Spirit" and the collection of works in the film criticism and writing ability competition. All units and departments of the bureau submitted a total of 25 excellent film reviews. The film reviews written by young cadres are correctly oriented, closely related to the theme, and the content is positive and healthy, reflecting the characteristics of youth and the characteristics of the times. The Youth League Committee of the Bureau specially launched the film criticism writing display column of "Light and Shadow Looking at China - Inheritors of the Red Spirit", through the film reviews written by young cadres, to show everyone the red classics in the light and shadow of the screen, relive the spirit of the revolutionary ancestors who were arduous, courageous, unyielding, tenacious, and selfless dedication, draw strength from it, base themselves on their own posts, and strive to create a new bureau of work.
Timeless classics
—— "The Visitor on the Iceberg" film review
Author: Fu Yishan, Beijing Municipal Cultural Relics Engineering Quality Supervision Station
"Visitor on the Iceberg" is a war-themed drama film, which revolves around the background of the border troops defending the frontier and confronting the bandits in the sarir plateau town of Xinjiang in the summer of 1951, and uses the emotional relationship between the real and false Gurandam and the warrior Amir as a suspense line, depicting the military and civilian life in the frontier area and the thrilling and tortuous anti-Special Struggle scene. Filmed in the 1960s, after more than 50 years of baptism, this film is still talked about today. What makes this movie enduring? And what is the connotation worth savoring repeatedly? With such a question, I watched this movie, collected relevant information, and analyzed and summarized the following experiences.
First, the film successfully created a series of three-dimensional and rich character images
As a war-themed film, the film establishes in front of the audience the image of the PLA hero represented by Yang Pai's resourcefulness, Amir's strict discipline, a squad leader sticking to his post, And Kara's kindness and bravery, etc., and also effectively shows the pure girl Guran Danmu who insists on love, and the sinister and fierce bandit villain who will stop at nothing to achieve the goal. When presenting the personality characteristics of each character, the choreographer flexibly uses contrast, contrast and other techniques to highlight it. For example, when secret agent Guran Danmu repeatedly went to the PLA garrison to spy on intelligence, the third squad leader used hard discipline to speak and play with attitude, but accidentally told the secret of the guard post on the mountain; and the squad leader changed his position to convince people with reason, and successfully persuaded the secret agent Guran Danmu to go down the mountain. The contrast between one positive and one negative highlights the rigidity and softness of the People's Liberation Army, and shows the rigidity and softness of the heroic characters. The climactic clip of the film depicts the confrontation game between Yang Platoon Leader and Bandit Leader Amanbay, and their tense looks are fully displayed, touching the hearts of viewers.
To achieve such an effect, it is inseparable from the director's accurate grasp of the character image and the excellence in the selection of actors. It is understood that in order to select actors to play Amir and Guran Danmu, director Zhao Xinshui spent weeks looking for suitable candidates in the streets and alleys of Xinjiang. Of course, the performance of the characters of the gods can not ignore the careful study and speculation of the actors, and it is these actors who vividly and concretely show the character personality in front of the screen through every move, smile and smile. The female agent disguised as Guran Danmu has her eyes dripping when spying on intelligence, and her expression is always disguised and hypocritical, giving people an unnatural feeling, which actually tests the acting skills of the villain actors even more.
Second, the film successfully shows a strong regional style, and forms a natural echo with the title of the film
On the screen, the film adds elements such as sheep riding, camel portrayal, mountain herding, and singing and dancing to help viewers better integrate into the situation. In terms of sound, from background music to interludes, most of the musical elements in the film are used in the performance of Xinjiang's unique folk instruments such as Dutal, Rewap, and tambourines, showing the unique charm of ethnic minorities in Xinjiang. With the joint efforts of songwriters Lei Zhenbang and Zhao Xinshui, singers Li Shirong, Wu Ying, Yu Shurong and other artists, the melodies of "Why Are The Flowers So Red", "Remembering Comrades-in-Arms", "Snow Lotus on the Iceberg", "Pamir's Eagle" and other songs that appear in the film have melodious melodies, deep lyrics, and touching voices, which is not difficult to understand why these works can be popular and sung to this day. In addition, the strong rendering of the music greatly deepens the visual effect and enhances the appeal of the picture, and the fusion of the two presents an audiovisual feast for the viewer, which is also a major factor in its becoming a classic.
Third, the film successfully uses literary creation techniques such as foreshadowing and laying the groundwork, and presents a ups and downs and gripping plot through details
Limited by the conditions at that time, as a war-themed movie, "Visitor on the Iceberg" did not overly highlight the gunfire and bullets on the scene, or it was difficult to reflect the fierceness of the battle scene, but the delicate plot design offset the lack of a strong sense of picture, and all kinds of suspense were suddenly open at the end, which made people have to admire the wisdom and intention of the choreographer. For example, Amanbay, the leader of the bandits disguised as a slave, ostensibly helping Guran Damm, is actually using her to approach and solve the PLA, and it is not until he finally reveals his true face that the true cause of Kara's death is revealed. At the same time, the choreographer is also good at using symbols with unique local characteristics as clues, such as the snow lotus on the plateau and the rewap organ of Kara, which strengthens the image through repeated appearances, not only enhances the artistic characteristics, but also plays a role in suggesting, promoting and echoing the development of the plot.
It is worth mentioning here that "Why Are The Flowers So Red" is not only an excellent work, it has also become an important plot booster in the movie. This song appears three times in the film, but the effect is different: the first time the music is shortly after the beginning of the movie, that is, when the warrior Amir learns that Guran Danmu is married and can't help but fall into memories, the female solo is supplemented by the male voice humming more sad, making the background explanation and emotional preparation for the subsequent development of the story; the second time, The Yang platoon leader let Amir sing to confirm the identity of Guran Danm, Amir sang affectionately but the secret agent Guran Danmu not far away did not react at all, thus confirming the judgment of the Yang platoon leader, and the situation was reversed. The plot goes deeper; the third time, when The real Guran Dam appeared in the camp looking at the blooming potted flowers, his thoughts rushed to his mind and could not help but sing, and when the warrior Amir heard the song and sang together, the male and female protagonists reunited after 8 years apart, and pushed the plot to a climax through the form of chorus. These details on the sound shape all hint at the plot change and give the viewer a signal.
Fourth, the film successfully conveys the expression of core values, and its historical and cultural values have continued to this day
The film reflects the unremitting efforts of the people of all ethnic groups in the early liberation of Xinjiang in the struggle against separatism, as well as the people's liberation army's belief in the sanctity of the national territory and the belief in defending the frontier to the death. This is of great significance to consolidating national defense and strengthening border construction. After winning the victory, Yang Platoon Commander said passionately, "Radiate 3 red flares into the sky to illuminate the mountains and rivers of our motherland!" "It also reflects the desire of Guotai Min'an and the responsibility of guarding the land." Considering the current situation, national integrity, peace and stability are also our long-cherished wishes, which is the resonance of the times.
At the same time, this film gives a good interpretation of national unity, and the feelings of the People's Liberation Army and ethnic minorities in the plateau areas can be fully demonstrated: the People's Liberation Army follows the customs and loves the people, while the Tajik people support the People's Liberation Army and actively provide intelligence information for the People's Liberation Army. In addition, through the background information, it is not difficult to find that the film was completed by filmmakers from eight ethnic groups: the director is Han Chinese, the screenwriter is a Hezhe ethnic group, the custom consultant is from the Tajik ethnic group, and the cast is composed of Uyghur, Kazakh, Hui, Mongolian, Manchu, Han and other ethnic personnel. With the concerted efforts of everyone, the film was successfully displayed in front of the viewer, and its creative process also reflected the friendship and unity between various ethnic groups, and this spiritual quality is still worthy of praise.
Considering the social and cultural background at that time, the cultural life of the people was far less abundant than it is now, and the ideological concepts were relatively conservative. However, the film's vivid depiction of love is clearly avant-garde, and the close-up of the heroic sacrifice of the People's Liberation Army also conflicts with mainstream values. Through the information, it was learned that the studio had put forward two opinions when reviewing the film, one was whether "Why The Flowers Are So Red" could be removed, and the other was whether the squad leader, who was a symbol of the hero, could not be sacrificed. Faced with the risk of possible punishment, the director resolutely chose not to make adjustments, which gave the film a complete expression of emotion. This is due to the director who advocates aesthetics and breaks through attempts, and it is his judgment and persistence that the viewer can feel the purity, loyalty and tenacity of love through the film in that era, and can realize that the happiness of the peace era is bought by the blood and life of the People's Liberation Army.
Finally, I would like to mention that the success of this film is inseparable from the efforts of each member. Whether it is the actor in front of the stage, or the director responsible for the coordination, whether it is the on-site photography, sound effects, art, recording, design, lighting, set, painting, makeup, props, costumes, drama, or the screenwriting, composition, editing, field notes, performance, conducting, consultants behind the scene, it is precisely such a group of people who are fully engaged, it is with such a professionalism, worthy of their own efforts, not worthy of the expectations of others, it is not difficult to understand why the film will become a classic. And classics never go out of style.
![Liang Yin, the star of "The Visitor on the Iceberg", died at the age of 90[fig]](data:image/gif;base64,R0lGODlhAQABAIAAAP///wAAACwAAAAAAQABAAACAkQBADs=)