Huang Ping
"Hello, Li Huanying" has an interesting detail, after the crossing, Jia Xiaoling is bent on helping Li Huanying win the volleyball game, but the problem is that the volleyball players are not even, and the few team members are missing, the reasons are: alopecia areata, writing poetry, farming and doing business. The above reasons correspond to individual beauty, literary fever, the disintegration of production teams, and the invigoration of the economy. In the autumn of 1981, a new era was coming for Shengli Chemical Factory and even For Xiangfan.
The volleyball game is a turning point in the fate of the characters in the film.
This volleyball game was originally the intersection of the fates of Li Huanying and Wang Qin, and thus affected the fate of Li Huanying's daughter Jia Xiaoling.
In the previous timeline, Li Huanying missed the volleyball match, and Wang Qin married Shen Guanglin, the son of the factory director. Wang Qin's daughter was later admitted to UCLA's directing department and stayed in Hollywood with a monthly salary of 80,000 yuan; Li Huanying married Jia Wentian, a boiler worker who had been in love for three years, and gave birth to Jia Xiaoling a year later, and Jia Xiaoling was finally only admitted to adult education. Jia Xiaoling forged an admission letter from a famous school drama school, and Li Huanying did not know it, and put on a promotion banquet. In the end, Jia Xiaoling's well-intentioned deception was exposed, the mother and daughter suffered a car accident on the way home, and Jia Xiaoling traveled back to Li Huanying's youth.
The life of Li Huanying before crossing was called the "old road" by Jia Xiaoling; the life of Wang Qin before crossing was the "new road" that Jia Xiaoling wanted her mother to live after crossing. After Jia Xiaoling crossed, she single-mindedly made Li Huanying "happy", and its template was Wang Qin's life. At the promotion banquet, Wang Qin successively showed off two proud things in her youth: the first champion of the volleyball game with a TV in the factory. These two things are exactly what Jia Xiaoling wants to help Li Huanying to complete after crossing.
Wang Qin's (right) life is the life that Jia Xiaoling hopes her mother will get.
"Hello, Li Huanying" This movie looks messy on the surface, but in fact, the clue is very clear: Jia Xiaoling is to make Li Huanying become Wang Qin. The tension in the whole film at the level of values is the game of the two "happiness concepts" represented by Li Huanying and Wang Qin: is it ordinary happiness, or is it the best?
Interestingly, Jia Xiaoling completely gave up the value of challenging success studies, and she even sacrificed herself to let Li Huanying form a new family and marry Shen Guanglin, the son of the factory director, instead of Wang Qin. How tragic this self-sacrifice is, how stubborn this brainwashing of success is.
Going back to the beginning of the movie, why do you have to participate in this volleyball match? Because the volleyball game points to "a great good thing" (the English subtitle given by the film is A life-changing opportunity), the director of the volleyball game is the future daughter-in-law. At the moment when the "Qiao Factory Director's Last Record", that is, the "one-length system", began to strengthen, the connotation of this volleyball game that ostensibly pays tribute to the Chinese women's volleyball team has been hollowed out here in Jia Xiaoling.
No one tried to challenge the "one-length system", and in the movie, the workers of the Shengli Chemical Factory satirized Shen Guanglin twice: once because Cantonese was not good enough, and once because Mandarin was not good enough, both at the "phonetic" level, satirizing Shen Guanglin's formal incongruity. As for the "content" of Shen Guanglin's character, the priority status he was given because of the son of the factory director (for example, shen Guanglin, a broadcaster, and then a radio station), was regarded as the only way.
Li Huanying and Shen Guanglin's rowing date.
Tv - volleyball - win the love of Shen Guanglin, this is basically the road to success that Jia Xiaoling paved for Li Huanying. And the extremely clever reversal at the end of the film (involving spoilers is not much to unfold), it is touching that it is not only the mother-daughter relationship, but the happiness of ordinary people is finally confirmed.
In Li Huanying's world, Jia Xiaoling is authentic and incomparable, of course, she hopes that Jia Xiaoling has good grades, but the criteria for success are always external to "my treasure", and the relationship between Li Huanying and Jia Xiaoling is an absolute, and this absoluteness is incalculable.
The author noticed that there is a feminist line of thought about the praise of "Hello, Li Huanying". This line of thinking deserves respect, but the author believes that Li Huanying is not so much a "woman" as Li Huanying is a "classical person". Lee Comes from the classical era before our modern world, from the 1980s, when we were nostalgic.
In a high-standard aesthetic, "Hello, Lee Huan Ying" is not a movie; a more typical example appears in another Lunar New Year film, "Assassination of a Novelist", which many literary and artistic young people regret is not like Woody Allen's "Deconstructing Love Mania". "Hello, Li Huanying" is indeed sketch-style in film techniques, such as scene scheduling, the lens language is completely for storytelling, the pace is fast, there are many reversals, and the pursuit of dramatic effects in mirror operation and composition.
But "Hello, Lee Huan Ying" is still a movie, just like Stephen Chow's movie is of course a movie. Because works such as "Journey to the West" such as "Journey to the West", Stephen Chow's films have reached the artistic peak of contemporary Chinese films in their essence (whether they are recognized by textbooks does not matter much), and "Hello, Li Huanying" of course needs to be improved in the intensity of the art form. But the commonality is that both Jia Ling's films and Zhou Xingchi's films are "hanging silk films" in the wave of urbanization, which cannot be simply equated with small character movies (such as "Yamaha Fish File" such as small character movies actually point to the success of future urbanization), but point to the losers in the wave of urbanization.
Jia Xiaoling persuaded Li Huanying to participate in the competition.
In this vein, the peculiarity of the movie "Hello, Lee Huan Ying" is that it is a wonderful unity of absolute reality (real people and real events) and absolute fiction (crossing). The fictional world is completely broken, and in the final moments of the film, it is even difficult for us to distinguish whether it is Jia Xiaoling or Jia Ling herself sitting in the red sports car.
Of course, it can also be criticized in reverse, the real world is completely fictionalized, and the story of the female worker is completely covered by the mother-daughter relationship, after all, comfort always means forgetting at the same time - if the story is re-told by Bao Yumei, who worked in the supermarket after being laid off, and re-told by Jia Wentian, who only has one shadow and hastened to appear at the promotion banquet, it may be another story.
However, the crossing we are familiar with is an escape, and the crossing of "Hello, Li Huanying" is still faced. Jia Xiaoling is not only facing her mother, she is ultimately facing herself. While commemorating her mother, Jia Ling also reconciled with herself who could not let go of her childhood through this film, just like the reflection of modern cities such as the bird's nest and the CCTV building reflected in the front windshield of the red sports car at the end of the film, saying goodbye to the past self through these figurative details.
This issue is edited by Zhou Yuhua