Cry! The protagonists add up to hundreds of years old "I Love You!" Why make tears worthless

Major romance films have always been just needed, and they are often easy to become "quality depressions".

Valentine's Day, Qixi Festival, 520 and other homophonic dates, or even dates that cannot be hit by eight poles, often appear "couple customized" movies.

These films often have bad reviews and low ratings, but their box office performance is not bad.

Rounded up, it was also ridiculed as a special offering for "wronged couples".

One year, Valentine's Day intensively released three low-rated romance films, and some people once complained: couples who went to see movies on Valentine's Day simply went to the robbery.

In short, it's all rough routines.

Many years ago, nine knives that were not a layman in the director's profession, a "The Girl We Chased Together in Those Years", which successfully detonated the resonance of youth and made a lot of money.

Years later, a similar "youth + regret missed" model is still playing out without waves.

Repeat the same pattern over and over again.

More and more hypocritical.

More and more embarrassing.

For example, "The Best of Us", which has a very good reputation in the drama version, is a rare excellent representative of youth campus stories in recent years.

But after being transplanted to the big screen, the effect is difficult to say.

"So Many Years", adapted from the same series of novels, was once complained about "hanging sheep's heads and selling dog meat".

was accused of actually selling another version of My Sister.

Whether the reputation is good or bad, whether the box office is a success or failure, whether the popularity is high or low, the most distinctive collective feature is that most of the romance films on the screen are about young people.

A pure campus story.

A story of regretful youth.

In middle age, there is often only a messy and turbid complex entanglement of chicken feathers.

Previously, "Love Myth" changed the number of bloody roads and acted in a different Shanghai love, which is really "outlier".

The protagonists of "Love Myth" Xu Zheng and Ma Yili can be called "middle-aged" at most.

And there are really few movies left for the elderly.

Previously, "Mom" focused on the Alzheimer's disease problem of two elderly women (mother and daughter).

"Love", with a Douban score of 8.7, won a number of heavyweight international awards, but did not land in mainland theaters.

Even if it is released, the box office results are not optimistic.

Placing the elderly in the center of the screen is already difficult.

In each story, they are often reduced to a veiled backdrop.

Either the mother-in-law's bloody and philistine "native family blood sucking essence" is responsible for creating blunt and routine dramatic conflicts;

Or a "sober in the world" type of warm background board, although it has great wisdom, but it is often thin and marginal.

Either the tool person assists and contributes to the love career of the male and female protagonists.

In short, it is difficult for them to be the core protagonists of attention, let alone the protagonists of "romance films".

And "I Love You! is an unconventional film, about the love of three pairs of elderly people.

Part of it is still (idol drama-style) pure love content.

Douban opened for 8 points, dropped 7.9 in two days, climbed back 8 points and fell back to 7.9

Rounding up should be 8 points.

In terms of box office, it also successfully exceeded the 100 million mark.

From the perspective of subject type, "I Love You" is extremely rare.

There are many shining highlights and nuclear explosion-level tears, but there is also the usual emotional overload and embarrassment of Han Yan's works.

On the one hand, it may be towards the broader group that is sinking, throwing a strong smell of "excessive tears and overload";

On the other hand, it may be a blunt move towards some kind of happy narrative.

Come, let's say it from the beginning.

One, the nuclear explosion-level energy of the "edge corner"

The four leading actors add up to hundreds of years old, right?

All exceptional.

Hui Yinghong and Liang Jiahui appeared, completely the appearance of the waste collector and aunt in the community, dressed in a state of demeanor, really "acting what is what".

When Ye Tong appeared, I repeatedly exclaimed, "This is actually Ye Tong, Xu Xian, how did she achieve that the role and the actor have nothing to do with each other."

Even if there are exaggerated deformations in the drama conflict at some times, their performances still bring tears to their eyes.

It comes with fireworks, life, and ground gas in the streets and alleys.

In the film, whether it is Lao Chang (played by Ni Dahong) who is irritable and throws the whip, or Brother Shan (played by Leung Ka Fai) and his two sons go to death together, it is a very extreme special event;

However, in the special and dramatic exaggeration, there is a real and universal texture that can make people empathize, reflect and painful.

For example, the male protagonist is often old, and many times he is not a warning himself, but appears as a grandfather and grandfather.

On the one hand, this is family warmth, and for the children to willingly put themselves behind.

On the one hand, this is also a little helplessness that the wheels of the times roll by and those who are left behind by the epidemic may not be able to keep up with the rhythm for a while.

I am familiar with pop culture because of my granddaughter and grandson.

can compare hearts, know various Internet terms, know how to escape room and shoot videos to play self-media (partial content);

He has "kept up with the trend", but he still has a little base color for the active and passive marginalization and lagging of the elderly group.

For example, after Brother Shan's family banquet, the song was dispersed, the descendants left, the table was full of messes, and he often sat there with a lost soul.

(Some of the descriptions could not be found in the trailer)

The two scenes that pierced me the most in the entire movie are not the cathartic scenes of sadness that cry and don't want to die.

On the contrary, it is all received, contained.

It is the kind of cold and warm sigh in the world that can't contain it and is full of overflow.

This "cup and plate after meal and the old man sits for a long time" is one of them.

Another point is the eyes of Sister Ru (played by Hui Yinghong) when she is often angry at the filial piety banquet.

They are often violent, angry, accusing, whipping and whipping one sentence after another, scolding these white-eyed wolves who have no heart and no liver;

And Sister Ru didn't say a word with tears in her eyes (before she tried to pull Lao Chang away, that's another matter).

The tearful gaze in his eyes is too poignant.

Half a life cold, a life of bleakness, as a bystander, as a relative and friends, cold eyes, looking at the old two white heads, squatting backs, and even dying, thinking "afraid of a bad reputation for children".

A sound is unspeakable, a word cannot bear to hear.

The way this paragraph ends is that after Brother Shan, people kneel and kowtow, bow down and apologize, and often turn sideways to "kneel to the wrong person".

This collective kowtowing ceremony with too strong a sense of ritual and too strong instigation, the children have not paid attention to it (or are unable to take care of it) before, and after a whip, they suddenly wake up and kowtow to admit their mistakes, and the sense of drama and ritual is greater than the emotional resonance.

In the movie, whether it is the son of Brother Shan, who has no heart and lungs type before (who has resentment because of the past), the daughter of Chang Chang, who is busy with life and work, or the daughter of Brother Shan, who is living in deep water and is abused by her gambling husband, the degree of initiative and passivity is different, but together they constitute an unequal picture of "the younger generations are natural and righteous to the self-axis, and the old people continue to pay for them".

The love of one side and the neglect of the other side have jointly created the general status quo that "the old people themselves are often ignored".

I love you! An important part of its value is to focus on it.

Of course, in the specific presentation, some out of focus and excessive fragmentation will destroy the overall texture.

For example, the juniors kowtow to admit that this paragraph is wrong.

I don't know whether to cater to a more outwardly and larger audience of "pompous drama conflicts", or to turn around and return to the road of "recognizing mistakes and turning back".

In short, the look and feel is not mellow enough.

But at least, the film is full of love and tears to say the "they should not be put in the forgotten and marginalized corner" that is too easy to take for granted.

They are not just whose grandparents, grandparents, they should be themselves.

Second, the elderly version of pure love mode

The elderly group love between Lao Chang and Sister Ru in the movie is quite interesting.

Recycling waste products is processed into happy and romantic highlights.

At first, it was a broad part-time job that was difficult and had to be done.

Sister Ru took care of her and lived together for many years because of the kindness of the famous Cantonese opera teacher in the past.

Collect paper shells, drink bottles, and a large number of them to sell a few pieces and a few cents.

Making money is not easy.

At the beginning, they also encountered the old Chang who loved to make trouble, and "arguing with reason" (using the problem to play) drove them out of the small base of the park to collect waste.

In the middle of the way, she was "retaliated" by Chang Chang, reporting her for violating fire safety regulations and piling waste paper shells in the corridor.

After the next two turned enemies into friends and their relationship warmed up, the style of collecting waste changed to a romantic and happy business.

A lively clip is presented, collecting rags, climbing mountains, bringing children, etc., regardless of whether the original common base color is bitter or sweet, it is romantic and cheerful.

Very "pure love".

Utilitarian considerations common to the adult world have also appeared in the film.

At that time, I often offended Sister Ru with "Are you trying to get my 4,000 pension, or my 79-square-meter two-bedroom and one living room", and I was happy to mention a big slap.

Since then, the two have turned around and tied the knot in a sense.

Finally, "rush to you" and open the "elderly version of Li Ziqi" pastoral and beautiful life in the countryside.

In a way, it is a single-line focus on romantic pure love, and although mentioned, it is rounded up to "overcome" the complex and embarrassing practical considerations.

It may not be without the suspicion of a brief separation.

Romantic pure love is not uncommon, and it is often criticized as rootless colored foam because of its simplicity.

But when "romantic pure love" meets the elderly group, it has a different beautiful effect.

Next door, Dean Chen and Teacher Qiu, the pair of bitter mandarin ducks, it is difficult for me to bring in.

"Mad for love" always makes me feel that there is a misalignment that I don't know where to start.

The degree of love between Brother Shan and his wife is a rare textbook level.

Extreme affection, and extreme misfortune, both poles are "extreme", but Leung Ka Fai and Ye Tong are too substitutionary.

There is no way to control tears.

Third, details and foreshadowing

I used to appear and wear a T with Nirvana printed on it, and I was a little strange: Huh, this old man seems to be quite trendy?

Later, Chang's daughter brought him new clothes that had been eliminated, and Chang said while rummaging through them, "It's quite new, and I threw it away."

Wear a red pink pink printed bear motif.

The contrast of the picture is very cute and cute.

It is reasonable to string together details that have not appeared.

Often those who at first glance do not fit his identity, age, inherent consumption habits "stereotypes", may not be his own active choice, but wear the very new eliminated old clothes provided by his daughter.

One is that this may be a big grinning part of his personality, not paying attention to dress, and the pants are long and they are not used to pay.

The second is the commonality of a generation of people saving and refusing to waste things.

The third is still a representation of family affection, paying attention to the source of the item, after all, it is brought by the child.

Another example is Lao Chang and Sister Ru calling, saying that he will send his grandson to his father this weekend, and he can be free himself.

Later, when stating his conditions in a showdown with the other party, he said that his son and daughter-in-law sold insurance, and his daughter worked in a foreign company and divorced.

The pictures of going to the door with his son and daughter-in-law trying to send his granddaughter home, and his daughter coming to the door alone to send her grandson before a business trip, etc., are all right.

These contents may seem unimportant, neither important emotional points nor hidden reversals, but the dots, lines and surfaces can be continued.

Make the whole story appear more three-dimensional and coherent.

In a sense, it is also more vivid.

Another foreshadowing was the overseas study banquet for the children of old former colleagues, and the son of the old man's lawyer tossed out a disclaimer.

The old man had a very explosive temper, and drank it all "I am willing to drink to death."

Layer by layer, he is hyperthyroid, his temper is explosive, he has something to say, he must say.

Although the subsequent filial piety whip and the kowtow of Brother Shan's descendants are too dramatic and ritualistic, from the level of foreshadowing logic, the story has clear clues step by step.

For another example, Sister Ru went to Brother Shan's place to sell waste products, and took the initiative to say that these were wet by the rain and counted a little less money (because the rain will be aggravated).

Together, it may not be enough for a ten-dollar business, and it is so detailed, which vividly shows her financial situation;

And in such a difficult situation, she still refuses to take a dime cheaply, which is her dignity and friendship.

Typical and three-dimensional, warm and kind.

Fourth, a little thought

Anyway, I Love You! The selection of materials itself is already worthy of attention and respect.

The blessings of the four god-level homely performances, just the performance is already worth the ticket.

Han Yan's directorial work, "Get Out!" Tumor Jun", "Send You a Little Red Flower", "I Love You! The attributes and characteristics of the consistency are obvious.

"Animal World" looks a little outlier in it.

There is no sensational tears, just a highly completed genre film.

Not as brilliant as the four performing artists, but the pace seems smoother.

And send you a little red flower", and now "I love you! Maybe it's the "tear attribute is too full" of the theme itself, or it may be an active choice in the presentation method and technique, and the intuitive landing point is on "crying".

The base color of this type of theme has its own sentimental and even sad texture, and it is normal to have tears.

A lot of times it's really moving.

Other moments are more and more and fuller.

After crossing a subtle line, the effect is like "putting eye drops directly into the eye".

Previously, there was obviously a node, which seemed to be just right to "make people wet in their hearts and then forget it for a long time".