In classic suspense films, no matter how colorful and bizarre the plot is, the truth will be revealed in the end. The movie is over, and both the audience and the detectives in the movie are happy for this unsolved case, because this case is destined to be closed.
A stone in his heart finally fell to the ground, and a long-suppressed pressure was released at this moment.
Until the end of the film "Mistake by the River", there is still a sense of uneasiness and depression......
In the film, Ma Zhe is dressed in his signature leather jacket, which becomes a key symbol in the film.
At first, Mark was dressed in leather and standing in an office in military uniform, very out of harmony with his surroundings; When playing with the leader, he doesn't give the ball to the leader; When the photo was taken, I was wearing a leather jacket and was photographed with a group of uniformed staff.
In such a scene, he appears poor and has an introverted personality.
Then, Ma Zhe changed from leather clothes to casual clothes, and then walked onto the podium in a police uniform with blank eyes, which was a punishment for the individual. Ma Zhe lost his mind and fell into the river, the madman put on his coat, and the two exchanged positions.
It can be seen that in the production of the film, the director used various means such as costumes, scene settings, and character portrayals to show the metaphors in the text in the video, transforming the abstract language from subtle places to intuitive and perceptible picture sounds, so that the audience can carefully figure out the director's intentions when watching, and make the interpretation of the image more meaningful.
In addition, at the beginning of the film, a young child is with his friends, and when he opens the "door to truth", he discovers something strange. A ruin. That's why Mazhe searched for the truth, but found nothing.
The film constantly highlights the irrational narrative themes reflected in the novel through the way of image narration, and also uses many imagery and exaggeration techniques to show that the protagonist gradually collapses as the case develops.
Literal words leave more reverie for people, and visual images can also construct a kind of convocation structure through metaphors, symbols, and symbolic lenses, allowing the viewer to experience its inner meaning in reading.
In the film, Ma Zhe is constantly seeking himself, but he can't fit into the group. At the same time, the film also shows the audience the "unique" side of Ma Zhe through a large number of detailed descriptions.
At the beginning of the film, everyone is wearing a cyan uniform, only Ma Zhe is dressed in black, only his office is on the top floor of a theater, only he will be distracted, only he will feel that the case is not so simple, and want to find clues, it is such an obsession that makes him lose himself again and again and pursue himself.
There are four dead people in the movie, namely grandmother, poet Wang Hong, hairdresser Xu Liang, and a child.
Judging from the injuries on the deceased's body, the police determined that the mentally ill person who was adopted by the fourth grandmother was the one who was adopted by the fourth grandmother, but Ma Zhe did not believe it, and insisted that the case would not be so easy to solve.
At this time, the child suddenly appeared and said that he had found a bag in the river, which made Ma Zhe more sure of his guess, Ma Zhe explored the truth of the matter step by step, and his mentality was slowly changing.
The second place, Wang Hong, is his opponent. Ma Zhe found a cassette tape from Qian Ling's bag and asked her for advice on the "Hong" in the poem, but
Qian Ling would not disclose the person's name. Later, Wang Hong explained to the police the relationship between himself and Qian Ling, but he knew that if he did it again, it would likely be exposed, so he wrote a farewell poem for himself. The film does not answer his suicide or murder.
The third is called Xu Liang, a hairstylist. Xu Liang knew very well that the person who killed him was not himself, but he was worried that the police would find out that he was this tall and wavy "woman" through the investigation of the case, Xu Liang didn't want anyone to know that he was dressed as the opposite sex, so he asked Ma Zhe to send him to prison.
But Ma Zhe's obsession with solving the case made Xu Liang even more worried that he would become the opposite sex, and he was worried that his becoming a man would be exposed, so he would use sleeping pills to end his life, but unexpectedly, his death was saved by Ma Zhe, and in the process, Xu Liang's strange behavior was also exposed, and he chose to commit suicide again.
The last child to die was a child with a gun, and he asked Ma Zhe to catch the murderer, and then said that he was killed by a mentally ill person, and when the facts were in front of him, Ma Zhe was not good.
He couldn't believe that everything he had worked so hard to investigate was in vain, and he even began to suspect that all this was deliberately done by the director, which made Ma Zhe completely lose his sense of self, and his mental state became worse and worse, sometimes falling into a state of hysteria, making him completely unable to tell whether he was dreaming or what he was doing.
The Other is both a help and an obstacle, and it is only through images that one understands matter, and images are not material after all.
Since it represents only a one-sided, incomplete cognition, and is limited to "seeing" rather than all sensory experiences, the perception of one's own identity is always a misunderstanding.
The inability of the person to recognize the real self leads to the absence of his own personality, which leads to the absence of his own personality, which leads to the absence of his own personality.
If there is a contradiction between the real self and the mirror self, then people will feel that their way forward is at a loss and helpless, and they can't find where they should go.
At the end of the day, the loss of the characters in the movie was the main cause of the deaths of the four victims.
Compared to the original, "Mistake by the River" removes many details about the selfishness and indifference of human nature, and pays more attention to the performance of the characters. The aim is to explain the absurdity of the film and make it plausible to some extent.
In addition to this plot line, "Mistake by the River" also increased the love between Qian Ling and Wang Hong, and Xu Liang's cross-dressing tendency. They are two different textual spaces that revolve around the main line.
These branch plots, which are different from the main line, have distinct characteristics of the times: "young poets, and people's life problems in the midst of historical changes", they greatly expand the space for the expression of words, their own absurd behavior, and those unspeakable secrets, all make the film more absurd.
Unlike the image in film and television works, all the characters in the original work are marked with mosaics, and Yu Hua takes "death" as a main theme, and all the characters revolve around this theme, without any narrative effect.
In Yu Hua's view, "death" is a combination of chance and necessity, without any cause, and this is the most significant literary feature of Yu Hua's early novels.
However, the psychological problems faced by human beings are no longer comparable, so the film is closer to the situation at the time after referring to the text of the novel, so as to achieve the dissolution of the "death" theme of the original work.
The film aims to highlight the impermanence of fate, and the "uncontrollable fate" is its consistent symbol.
In this movie, whether it is the masochistic tendency of the fourth grandmother, or Xu Liang's cross-dressing tendency, or Wang Hong's romantic affairs, they are not recognized by the world, however, the deeper you go, the more dangerous these secrets are exposed, which is the so-called "creation and making people".
The film uses the development of various characters in the main line to provide a metaphor for the alienation of human beings in a special era. It can be seen that in the process of film transformation, the "death" plot in the original work is gradually deconstructed, and the "death" theme of the original work is resolved in an "image" way.
At the end of the film, the bystander is adopted, the camera plays the role of the narrator, giving the viewer a happy outcome in a calm and impartial way, Ma Zhe killed the mentally ill person is just a delusion, he also receives a third-class merit, and the boy has no flaws.
It sounds like the end of a story, but if you look closely, it's a good example, but if you look closely, it's just an illusory world.
What the hell is going on? It's like in the movie: "Since there is no answer, let's go crazy." ”
During this period, the moviegoer changed from a traditional audience to a participant and builder of the "story world", thus achieving the goal of constructing a complete story world by multiple characters such as writers, directors, and recipients.
Wei Shujun said in an interview with reporters: "The ending of this film is not to give me an exact result, it just wants me to know that the ultimate purpose of this scene is to let me know what is the most important thing." My nightmare is yet to come! ”
In short, the book "Mistakes by the River" tells us that life is not a blueprint, it is a picture full of uncertainty, everyone has found their own way in this picture, maybe confused, maybe confused, but this is life, but it is also a kind of growth.