In recent years, because of the vigorous development of feminism, many big female protagonists have appeared in film and television works.
Domestic ones include "Yanxi Raiders", "Liu Li", "That Year the Flowers Bloomed and the Moon Was Round", "Under the Sun" and so on.
The most recent popular ones abroad are "Rear Wing Abandoned Soldiers", "The Land of No One" and "Dragon Quest".
These various female figures in the film always carry a strong temperament, which breaks the stereotypical gender bias and dares to fight against all traditions.
What many people don't know is that as early as the eighties of the last century, China has already made a "big heroine movie", and it is starring Jiang Wen and Liu Xiaoqing.
Spring Peach
The director of this film is Ling Zifeng, and many young people today may not have heard of this name.
Ling Zifeng is one of the third generation of Chinese directors, and is good at shooting films based on literary works, such as "Camel Xiangzi" and "Border City", which have changed from words to audiovisual art under his hands.
At the same time, his works such as "Madness", "Red Flag Spectrum" and "Sons and Daughters of China" are extremely excellent, and the genealogy of works extends from the period of the War of Resistance Against Japanese Aggression to the 1990s, along with the founding and growth of New China.
The screenplay of "Spring Peach" is adapted from a short story written by Xu Dishan in 1934, and the full text is only more than 11,000 words.
Since a large part of the film's ideas come from the original work, we need to understand xu dishan as a person.
He is a famous modern writer in China, a pioneer of the "May Fourth New Culture Movement", with profound academic qualities, and has successively obtained a master's degree from Columbia University and a bachelor's degree from Oxford University.
However, this experience of staying in the ocean did not make Xu Dishan ungrounded, but he was very concerned about the changes in the social situation and the lives of ordinary people, and the style of writing was stable and realistic, which was impressive.
At the same time, xu dishan, because of the influence of the religious beliefs of his original family, the novels and essays are filled with a lot of Taoist, Buddhist and Christian and other religious colors.
"Spring Peach" is no exception.
In this story picture rendered by this novel of more than 10,000 words, in addition to the obvious ideas of feminism, humanism, freedom and equality, the words are also filled with a Taoist maternal color and matriarchal tendency.
Confucianism in China emphasizes the hierarchical relationship between the use of the scriptures and the "father and son of the king and the subject", which is conducive to the ruler's control of the country, so it occupies the mainstream position.
Taoism, which originated from the philosophy of Lao Zhuang in the pre-Qin period, despised that although it was not practical, it was actually the most feminist religion, and it had great reverence for mothers and goddesses in primitive society.
So-called: "The Tao gives birth to one, life to two, two to three, and three to all things." ”
This "birth" is to nurture, to reproduce, to live forever.
In the Tao Te Ching, it is said: "Ceres does not die, it is called Xuanmu, the gate of Xuanmu, is the root of heaven and earth." It is not used diligently. ”
Mr. Feng Youlan believes that Lao Tzu compared tao to "the female genitalia, and the metaphysical significance of transforming all things into the root of heaven and earth is expressed through the worship of female reproductive function."
The heroine of "Spring Peach", Chun Tao, flashes this Taoist mother color.
In the early 1930s, this was an era of deep disasters in which "if you don't make trouble with the soldiers, you will make trouble with thieves, and if you don't make trouble with thieves, you will make trouble in Japan."
Chun Tao, a handsome-looking farm girl.
On the wedding night, the village was looted by bandits, and her husband Li Mao disappeared, and his life and death were uncertain. Chun Tao could only flee and fled, all the way from the countryside to the city of Beijing.
When she arrived in Beijing, she met Liu Xianggao, and the two began to live together and began to live together.
Until now, many parents have heard that their children, especially when their daughters live with their boyfriends outside, are angry and have nowhere to vent their anger and can only throw a tantrum at their children.
Think about it again, this is the thirties, not to mention cohabitation, even divorce is a new thing of bad customs, ten miles and eight villages can be spread everywhere, not to mention that some people's chastity arches are still firmly nailed to the door.
But Chun Tao didn't care, every day before dawn, she used her thin body to carry a huge frame to pick up rotten paper from house to house in exchange for a lamp.
"Exchange for lights" this work many people do not know what it is, the following to explain a little.
Lin Haiyin, who wrote "Old Things in Seongnam", has an article called "In Exchange for Lights", in which the description of this profession can probably be summarized as:
In the morning, an old woman dressed in rags carries a basket and exchanges foreign fires (matches) for rags.
No matter what waste in the family, such as rotten paper, rags, old shoes, etc., can be exchanged for matches, hazelnuts, shavings and the like.
"It's a small, small business, changing the most dilapidated and rotten little things in the family to get their lowest life."
What Chun Tao does is this small business.
Liu Xianggao, originally a rural high school graduate, was "taking a pen for three or five years", and could barely be regarded as an intellectual.
His job was to find useful things from the pile of rotten paper that had been collected, such as what Kang Youwei had written, what came out of the palace with seals, and then packed up and took it to the Six Kingdoms Hotel to secretly sell to those powerful and rich officials and nobles.
(The Six Nations Hotel was built by the British in 1900 as a four-story building.) The Six Nations Hotel was mainly used by ministers, officials and upper-class people of various countries at that time to stay, eat and entertain, forming a meeting place for dignitaries and dignitaries. ）
When you are lucky, the paper collected for one dollar can be sold for three or four dollars at the beginning, which can be multiplied several times.
However, Liu Xianggao also had unhappy times in his heart, after all, he was a person who "vaguely understood some sage principles" and was quite influenced by some traditional concepts.
He likes spring peaches, and spring peaches are in his heart, and they are the best and perfect women.
But he has no name.
What is the relationship between living in one place like this?
Husband and wife are not proof, temporary lovers, the two people are living in peace.
It's not going to work, it's like.
So on this day, Liu Xianggao, prompted by the police who counted the household registration, wrote the names of two people on the household registration book. When he also came home from work in Chun Tao, he cried out to his daughter-in-law one by one, and the small mouth called a sweet.
But hearing the word "daughter-in-law", Chun Tao was not happy, and repeatedly asked Liu Xianggao not to call again, and it was really annoying to call her again.
Liu Xianggao had to shut up, but he still stole pleasure in his heart, after all, the names of the two people on the hukou door were written together, and there was nothing tight about calling the daughter-in-law.
Take a look, this concept of ritual and reputation has simply penetrated into the hearts of Liu Xianggao and most people.
However, I have to say that he is really good to The Spring Peach, and that look is clearly full of love.
Outside of the movie, Jiang Wen and Liu Xiaoqing really had a relationship, but the ending was more bloody.
Originally thought that the days would go on like this, seeing this, the audience will also mutter in their hearts:
"Is it because this spring peach is a good girl who doesn't marry such a good person as Liu Xianggao, because she still can't forget her one-night husband Li Mao?"
But our thoughts were quickly dispelled.
On a road to collect the lights, Chun Tao met Li Mao.
However, he lost his legs and looked like a beggar on the street.
Chun Tao did not dislike him, but generously pulled him to the house by car, prepared water for him to bathe (he washed himself), and gave him Liu Xianggao's clothes to wear.
During the conversation, we learned that Li Mao was recruited to fight the Japanese devils after not finding The Spring Peach on his wedding night, and as a result, he lost his legs in the war and fell to this place.
It's just, how did this woman and two men live?
A total of one bedroom, three people sleeping together, each pregnant with a ghost fetus, embarrassed to dig out a Hogwarts Castle with their toes.
Coupled with the fact that the neighbor's mouth and lively eyes did not stop for a moment, Li Mao came to the whole alley like a New Year and secretly laughed at this strange combination.
The two big men were eager to get through the cracks in the ground and die.
Let's talk about Li Mao first, although he is nominally Chun Tao's husband, he knows in his heart that with his current appearance, it is impossible in any case.
He was very contradictory, and the traditional idea of husband power made Li Mao simply sleepless.
Liu Xianggao is more uncomfortable, the couple is reunited, what is the matter with him, plus his legs are sharp, as soon as he goes out, it is inevitable that he will be weird with the yin and yang of some suspects, and no one can swallow this breath.
But chun tao poured every day like no one else, still working sharply to support the family.
When Li Mao talked about his relationship with Chun Tao, Chun Tao said emphatically:
"I brought you back, just thinking of my fellow countrymen. If you recognize me as a daughter-in-law, I don't recognize you, and if you start a lawsuit, it may not be that you win. ”
When Liu Xianggao said that she was scolded by others as Wang Ba, she only said:
"Rich and powerful people are afraid of being king eight, like you, who recognizes?" Live without leaving a name, dead without leaving a surname, Wang Eight is not Wang Eight, what is the relevance? If someone laughs at you, you won't beat him? What cowardice do you show? No one can take care of our business. ”
Speaking of this, the two men are still awkward, looking for a conclusion to this matter.
The two discussed and finally decided that Chun Tao was Liu Xianggao's daughter-in-law, and Li Mao sold herself to Liu Xianggao, so that the relationship would be straightened out.
But when Chun Tao knew that Liu Xianggao and Li Mao had "arranged" themselves through the sale and purchase contract, she was very angry and shouted: "I am not anyone's daughter-in-law, I am my own." ”
This can be called a declaration that Xu Dishan shouted out for all the women of that era who had independent will or longed for independence through the mouth of Spring Peach.
Even today, this statement can be regarded as a very progressive sentence.
Thinking about the "good marriage style" promoted on some public platforms now makes people suspect that history is going backwards rather than moving forward.
In "Spring Peach", Spring Peach always exists as a manager and a woman with independent consciousness.
Even at work, spring peach occupies a major position.
Carrying a huge basket from house to house every day, Liu Xianggao only does some discerning work, picking out some celebrity books or things that can be sold for more money from the things that Chun Tao picks up.
Li Mao, who joined later, was only responsible for sorting into categories and picking out the pictures in old stamps and paper cigarette boxes.
Chun Tao is not only economically independent, but also independent in personality.
Compared with two big men, she does not care what others say, only does her own thing, and has full right to speak, intending to build a "one woman and two men" family structure.
This structure has appeared in many French films, such as "Dream of Paris", "Your Mother Too", "Zu and Zhan"... A lot of it, maybe it's really feasible hahahaha (just kidding, dog head saves life).
The focus of the problem is that a woman cannot always be in a dominant and oppressed position, to have her own right to speak, she never belongs to anyone, she is herself, not whose daughter, whose wife, whose mother.
Chun Tao didn't want to mess around in her mind, she just felt that the three of them should live together in a friendly relationship, take care of each other, no one should leave anyone, and no one should support anyone.
Here, Xu Dishan and Ling Zifeng borrow the maternal color of chuntao's character to try to awaken women and the whole society.
However, Chun Tao's identity did contribute to her rebellion.
First of all, at this time, the whole society was in turmoil, and the traditional Confucian concepts had been shaken to a certain extent after being affected by the May Fourth Movement.
Secondly, Chun Tao lives at the bottom of society, has no traditional education, and has no family ties, paving the way for rebellious ideas.
At the same time, the two men in the film, one with a big heart, the other even if the heart and eyes are small, can not be a demon, after all, the legs are gone. Intellectuals do not need much knowledge, and their original husbands cannot support their families, so they can only rely on spring peaches to survive.
This setting of the husband's disability also appears in "Shan Hai Qing" and "Tuya's Marriage", which also points to a stereotyped female breakthrough -
Does a woman's sense of independence survive only when men are weak?
This idea is actually one-sided, whether men are weak or not, women must have self-respect and self-love, financial independence and personality independence.
The film "Spring Peach" has its limitations, but given its completion era, we are not qualified to blame it for anything. After all, decades later, we are still repeating this routine.
Text/Pippi Film Editorial Department: Tong Yunxi
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