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preface
There is a panacea-like box office weapon in the Korean film market - youth genre films. The Korean film "Youth" is such a typical youth genre film, the film shows the audience the love story of the two male protagonists in a parallel time and space.
The two in the story have very different youth encounters, especially in the treatment of love, with their own different choices and perseverance. Zhixiao's choice is to escape, Su Yong's choice is to persevere, and the intersection of the two is the friendship that the hero sees and cherishes each other.
Youth has been popular for centuries as an introduction to enlightenment thought, and reviving the topic of youth in the postmodern era will provide a new interpretation of youth in the form of film and television images.
First, the warmth and confusion in the Korean film "Youth"
(1) Two kinds of youth driven by pulse warmth
The two male protagonists in the film have encountered two different lives, not so much life, but the love choices of the youth stage of life. Unlike Zhixiao, who does not have a clear fixed goal, Su Yong only falls in love with female teachers at first sight and has always been in love, while Zhixiao has an uncertain and more vague warmth.
In fact, from the perspective of the general psychology of adolescence, Zhixiao's feelings about love are more real and credible, and all boys and girls will experience the pulse warmth of the vague and ignorant uncertainty, just like Zhixiao riding through the peach blossom jungle at the beginning of the film, the splendid and enchanting peach blossoms in full bloom provide a suggestive photo of Zhixiao's youth.
And Su Yong's life is also as shown in the beginning, like that one-way train, just for a person to fall in love at first sight and always fall in love, and never return, in this sense, Su Yong's youth is more decisive.
Zhixiao and Su Yong's two love attitudes and youthful expressions cover most of the universality in life's journey, and have similarities with those youths that shine in memories.
In the vague ignorance of adolescence, there is both an instantaneous and infinitely amplified passion, and an unforgettable, vein warmth that time slowly calms down, and both instantaneous passion and vein warmth can trigger infinite resonance with the audience with the flash of its youth.
(2) Helplessness and confusion after youthful impulses
Korean movies were once troubled by the lack of actors around the age of 20, but now the young generation in South Korea has been able to take on youth genre films, and it is obvious that the younger generation is better at playing in terms of interpreting youth, expressing youth, and releasing youth.
The film "Youth" does not break through the traditional construction of youth expression, but constructs a traditional patterned paradigm of youth for the first male protagonist Zhixiao.
This kind of youth will juxtapose sex with eating, sleeping, and attending classes as a helpless relief from youth confusion, and the life lost due to sex as a brake on youth, expressing an image of consuming youth and throwing up youth.
In the film, after bidding farewell to their friends, Zhixiao and Su Yong sat quietly bored on the empty platform, which is just the same as their state of mind at this time.
In this state of youth that regards youth as nothing, Zhixiao and Su Yong are exactly the same as ordinary sentient beings, silently sacrificing their youth, but harvesting helplessness and confusion. Zhixiao expressed that confusion on the platform, while Su Yong buried that more terrifying thought deep in his heart.
(3) Youth where warmth and confusion are intertwined
Flowers and men in the splendid season of flowers, brilliant encounter will inevitably produce splendid flowery affair, all experienced will leave traces, the impulse process of rapid but brilliant breath, has been dominated by the impulse of passion to deconstruct the essence of youth, and the subsequent pulse warmth is more worthy of recall and recall.
Happy youth is similar, but unhappy youth has different expressions. In "Youth", although Zhixiao and Su Yong feel the same warmth, their youth encounters have different expressions of confusion.
Confusion and warmth have intertwined, intertwined, blended expressions, Zhixiao's confusion is that he does not understand what true love is, but love always comes beyond expectations, and Zhixiao is diametrically opposed to Su Yongzhen who truly understands what true love is, but that true love is particularly difficult to express like ordinary young boys and girls.
Zhixiao's love is obviously more casual, but Su Yong's love has an unusual stubbornness, it can be said that Su Yong's love for female teachers has reached the extreme of love, and the love has suffocated Su Yong several times, so that Su Yong does not want to do anything except this love.
This constructs a kind of intertwined youth of the binary contrast of warmth and confusion, Zhixiao felt warmth early, but was extremely confused, and Su Yong felt love early but was extremely fearful, so youth and love are contradictory in the film.
Second, the tragedy and comedy in the Korean film "Youth"
(1) The binary expression of tragedy
"Youth" interprets a series of tragedies that follow one after another. And youth and love are the root of the tragedy, for the first heroine of the tragedy, Hannah, the pain of this tragedy is obviously extremely heart-wrenching, which is not only the temporary tragic price of youth, but also an extreme expression of youth reaction.
Hannah, who could not bear this pain of youth alone, eventually went to extremes due to emotional overload, and the tragedy of her family, the tragedy of her failed father brought to Hannah and the entire family, once again dramatized in Hannah and the family.
The tragedy that Hannah concentrated on and erupted is obviously a typical expression of youth excess. This kind of tragic expression constructs the tragic expression of the two male protagonists dominated by their temperaments in the form of strong contrast and strong gap.
In the film, when Hannah climbs the final staircase and opens the sun-filled door to the top floor, we see a moment of bright and bleak youth and a most poignant but lonely soul.
The tragedy of family and the tragedy of individual love, under the excessive passion of youth, seem so insignificant, in the eyes of Hannah, who stands on the roof, even the binary opposition expressed by extreme youth is worthless and meaningless.
(2) The binary expression of comedy
The tragedy in "Youth" carries out the indifference after passion in a bloody red color characteristic of youth, and the right is completely unequal in substitution.
This unequal compensation builds the first tension for the film to break through the film and television images, and the ubiquitous light comedy sitcom-style expression not only does not solve the tragic tension constructed by Hannah's death, but invisibly accumulates greater tragic burst expression.
The reverse tension of this comedy not only fully shows the creative power of Korean films' organic reversal and reversal, but also fully shows the detachment, presence, closeness and contradiction of this comedy expression derived from the Korean national nature.
The coaxing between classmates, the passionate fight between couples, and the endless frolicking between the two male protagonists all add a tragic atmosphere to this comedy-style expression of youth.
In this atmosphere, the film constructs a completely different youth and a very different expression of love, and only in such a comic youth expression can it burst out "Even if it is a mountain, the green mountain will shout loudly".
Such beautiful poetry, the long roar and laughter of looking up to the sky after Zhixiao and Su Yongyin in the film, transcendently release a more artistic expression of hidden dualistic oppositional youth for the comedy expression of youth.
And from this senseless escape and persistent search, a kind of youthful sorrow and joy are constructed, and the intersection of tragedy and joy is increasingly seen in its strong dualistic expression.
(3) Mixed sorrow and joy and mixed joy
The tragic expression of youth is so heavy, and the comic expression of youth is so pleasant. In the film "Youth", from an abstract perspective, we see that Zhixiao has been evading, Su Yong has been insisting, there is no right or wrong in youth, only the continuation of youth and the persistence of life.
Hannah's expression of rebellious love and the end of desperate love, Su Yong's expression of transcendent love and the end of love that chooses cold branches and refuses to live, have become tragic concentrated expressions in this film with their succession, common perseverance, and similar expression finality.
In addition to this concentrated expression of tragedy, there is a decentralized expression of comic generalization. This mixture of sorrow and joy of youth not only deconstructs the essence of youth, but also constructs the true meaning of youth.
The tears that Hannah and Zhixiao shared for the first time, and Su Yong's tears with the female teacher, are actually not tears of joy, but an eternal memory of love and heart once possessed, and everything after that will become relieved under the dissolution of youth.
Hannah's purity like a snow-white handkerchief, after deconstructing the purity of Zhixiao's snowflake, blooms instantly, withers instantly, and sublimates instantly like a snowflake dyed into a plum blossom, and sorrow and joy also condense into a youthful milestone eternity in that moment, thus bringing a metaphysical and more advanced abstract expression of the soul of youthful sorrow and joy to the film.
Third, warm and confused and tragicomedy are deeply integrated
(1) Warmth and confusion are the tragedy of cause and effect
The youth in the film has a tense expression of deep integration of tragedy and joy. In the grand vision of youth, the film compares sexual possession with the continuation of life and youth, and the comparison result is obviously that the relationship between the first two is the closest and the relationship between the other two, and the relationship between life and the other two is the farthest away.
However, in the expression of youth, once the first two have an incompatible imbalance, once there is an obstacle and obstacle between sexual possession and the continuation of life, then life is perverted and insignificant.
Human nature essentially has eternal weaknesses, when this weakness has been accumulated in negative emotions can not be extreme, it will bring a terrible human extreme, standing at the pole of human nature and looking around, taking a step forward in any direction will be the end of life, and this is precisely the root of this extreme youth sacrifice of love for life and love for life in the film.
It must be said that the youth shown in the film is obviously profound. As Hannah said before leaping into Yawang Paradise, "Every period of youth is not pure", and it is an equivalent sacrifice to pay for it, but if we sacrifice youth with our lives, then what will we interpret youth!
It can be seen that the youth interpreted by the film is actually a kind of exploration of lost youth, and the confusion under the dual observation of the two tragic tragedies expressed by youth under the drive of youth.
(2) Warmth and confusion are mixed comedy
The tragic expression in the film "Youth" and the tragic expression in "Norwegian Forest" also have a tragic color, the difference is that the comedy component that balances the tragic color in "Youth" is beautiful and bright.
The petaled peach blossoms dancing in the opening chapter are like the endless fighting and frolicking among classmates, and everything released with this comedy color is so pure and beautiful.
For example, in a scene where Su Yong secretly collects photos of female teachers, Su Yong's deep obsession with female teachers is depicted with a strong presence humor, and this comedy color is also integrated with the teacher-student love released in a subsequent scene by Chengmen Lixue.
Its complex imagery is manifested in the complex emotions between teachers and students, while its integrated expression is manifested in top-down compassion and warmth and bottom-up persistence and confusion between teachers and students.
The tragic ending of Su Yong's role is always in a comedy color layer by layer, the deep infatuation of the identity of the student who does not hesitate to sacrifice his life, and the complex emotions that cannot be invested as a teacher, forming a comedy expression of the peach blossom transient plum blossom that is both warm and confused, which makes the audience laugh.
The two male protagonists are linked by youth companionship and friendship, and their unregretted youth and mutual love also form a dualistic view of mutual deconstruction.
(3) The deep integration of warmth and confusion and tragicomedy
The tragicomedies in "Youth" all have unforgettable warm expressions. Different from Zhixiao's casual behavior, Su Yong is sluggish in terms of emotional expression, Su Yong's fiery emotions are rejected by female teachers by various means, and the expression of adolescence is obviously in a different state of depression and dissociation, and at the same time, the physical observation of his adolescence is actually a narrative expression of a state of youth.
In the perspective of his adolescence, "everyone looks like a dog in heat", this rebellious and excessive expression is obviously a tragic expression of warmth and confusion for Su Yong in adolescence, which not only forms an extremely distinct binary view with the youth expression of wild and indulgent Zhixiao, but also forms a contrarian expression.
From a more metaphysical perspective, the so-called youth is definitely not limited to a stage, or a state of mind, an action, an expression, but a passionate ideal search journey that every individual must experience to get rid of confusion.
Even if the accumulation of years eventually leaves traces, even if enthusiasm cools and urges people to age, youth will be there forever without dying, without increasing or decreasing, without coming and going. Moreover, youth will only be blessed with one thought, which has nothing to do with warmth, confusion, sorrow and joy, and all human wisdom always reminds the self that it always retains a sense of hope and self-knowledge.
It is true that youth has nothing to do with sorrow and joy, and where the breath of youth shines is the journey of life that is condensed by youth, which is both joy and sorrow.
epilogue
The Korean film "Youth" constructs a kind of love dimension of typical youth under the dichotomy of love and temperament, binary contrast, binary opposition, and binary observation, but with the type of transcendence of this love dimension, it deconstructs youth, deconstructs love, and deconstructs life.
The brilliance of the film lies in the fact that it can be outside of it from a present perspective, and at the same time, it can be outside with a transcendent hidden God perspective, thus constructing a harmonious film and television image for warm confusion and tragicomic expression.
The painful narrative that echoes the tragedy before and after in the film is dominated, and the reinforcement of the integration of comedy and tragedy is supplemented by the narrative that helps the tragedy, and the joint interpretation has achieved a kind of time and space interlacing and spatial metaphor that is also sad and happy, sad and joyful, and bittersweet.
The youth expressed in the movie is a kind of youth that has been reborn, reappeared, and reconstructed after being reborn like nirvana.