"Sedek Balai", a Taiwanese epic masterpiece directed by Wei Desheng, is divided into two episodes: "Sun Flag" and "Rainbow Bridge". The director version is 276 minutes long and the edited version is 153 minutes. It was produced in 2011 and released in mainland China on May 10, 2012.
Movie posters
"The Japanese are denser than the leaves of the forest, more stones than the muddy streams, but my determination to resist is stronger than that of Mount Chilai.
If your civilization has made us humble, then I will show you the pride of barbarism. ......
'Sedek Bale' can lose the body, but be sure to win the soul!! ”
--Mona Rudao
When the film was released, it was still the era of blogs. , how do you want to, Han Han's male blog post with the title, let me know Sedek Bale, this heroic epic movie from Taiwan. The perseverance and diligent cultivation of Taiwanese filmmakers can always bring wonderful things to the world again and again. Since the lifting of the stricter regime, Taiwanese films have made great strides in development, and in recent years, they have sprung up and occupied a place in the mainland market. From "The Juvenile Murder Incident on Muling Street", "City of Sorrows", "A Cloud in the Sky", "Slam Dunk", "Cape Seven", "Mengxi" to "Those Years, the Girl We Chased Together", "Sidekbar", from Yang Dechang, Hou Xiaoxian, Cai Mingming, Zhu Yanping, Wei Desheng, Niu Chengze, and Li An, who started in Taiwan, they jointly promoted the successful breakthrough and out of the predicament of Taiwanese films. Some commentators summed up Taiwanese films in two sentences: "Emphasize the director's style and pay attention to Taiwan's history." Watching Taiwanese films, it is all the same, each director has his own unique understanding and interpretation of Taiwan's history, self-experience of life and life, and naturally formed their own good directing techniques, so that these films with a deep Taiwan imprint are unique. Taiwan's narrow geography, cramped space, coupled with a complex political environment, make people living here have incomparably complex emotions. When faced with a country-specific dispute, they always say, "I'm a Taiwanese." This sense of Taiwan, which highlights the self-assertive subject, is so strong and obvious in Taiwanese films. Taiwan's film circle is small, so these directors have formed a good habit, who has difficulties, everyone will lend a helping hand and help. The same is true of Wei Desheng's film this time, and he places the people who helped him shoot in rows at the end of the film, called "Angel Bale".
Wei Desheng lasted more than ten years, painstakingly choreographed this epic masterpiece, once again let us see the difference of Taiwanese films. The memories of the two painful years brought to Taiwan in 1895 and 1949 have left an indelible shadow in the hearts of the People of Taiwan. The background of "Sidek Bale" is exactly between these two points in time. Since childhood, I have learned from books that there is an ethnic minority in Taiwan called the Gaoshan ethnic group. In Taiwan, it is called aboriginal, and there are a total of 14 ethnic groups identified, and the Sideks are one of them. "Sidek Balai" shows the 1930 Wushe Incident in which the nativeSedks in the mountains of central Taiwan rebelled against Japanese colonial rule, based on the main island of Taiwan, based on historical events, faithful to the original ecological style of the indigenous people, so that this film has a strong Taiwanese style. In order to show this tragic and bloody event in an all-round way, Wei Desheng can be regarded as painstakingly thinking, writing a script for several years, looking for the descendants of the aborigines, Lin Qingtai, who has never acted in the main role Mona Rudao, filmed in the primeval forest, using a large number of actors to participate in the performance, so that this film not only praises a thick and dense sense of history and a deep sense of Home and Country in Taiwan, but also creates a three-dimensional dynamic picture sense, a sense of scene, and creates a rich and full texture of the touchable characters.
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The film follows the historical truth and strives to present it in an all-round and wide-ranging manner, restoring Mona Rudao, a martyr of Saidek who worships the totem of the ancestral spirit. Turning over the record of the Fog Society incident, you can basically correspond to the shots in the film one by one. The director only seeks to patiently tell and carefully express that thrilling history, and does not avoid and cover up the primitive violence and cruelty, blood and barbarism, good and evil are left to the viewer to taste and evaluate. In order to guard the hunting ground, Mona Rudao crossed the Rainbow Bridge to complete the return of the ancestral spirit without sacrificing all the clans without any praise; there was no evasion of the bloody practice of the long-standing hatred between the clans over the hunting grounds, so that the Dozawa people served the Japanese and took advantage of the fire to kill to avenge their personal revenge; the heroic worship of the children who grew up in the mountains and forests, which was carved into the bone marrow, finally let the children engrave the mark of Saidek and kill their Japanese teachers. The savage worship turned the children into collective murderers; the Hanaoka brothers were educated in Japan, wore kimonos, but the blood of the Sideks flowed from their veins, faced with the colonists who gave birth to their own land and educated themselves, this ambivalent psychology and identity made them extremely miserable, and finally chose to kill their wives and children to kill themselves, this incomprehensible ignorance of modern people appears natural in the film; the men died in battle, and the women chose to hang themselves from tree trunks to hang themselves in a collective way to the unknown ancestral spirit world. These illusory beliefs seem so real and shocking to them. True display, restoration of historical facts, the director hides his complex feelings in the original narrative, which is why this four-and-a-half-hour-long film can attract people to watch for a long time.
Mona Rudao was a great mountain hero. From a young age, he was mighty and fierce, went out early to hunt the head, carved the mark of Balai, and became the head of Mach's broken. He could have led his clan to guard the mountains and forests, expand the hunting ground, show their glory and aura as heroes and patriarchs, and eventually cross the Rainbow Bridge and walk to the land of ancestral spirits. Encountering the invasion of the Japanese, it destroyed the balance of the mountain forest, occupied the land, enslaved the tribesmen, and most importantly, used modern civilization to break the original living customs and ancestral spirit totems of the jungle tribes, and the faces of young people were no longer marked. This made Mona Rudao extremely sad, and he did not guard this homeland well. Ever since he was crushed by the Japanese soldiers on top of the skeleton of the headhunter, who he considered to be the glory of no honor, what we see in his angry eyes is a flash of flame of resistance, which burns in the heart all the time. He knew that bows and arrows and earthen guns could not fight the weapons of the Japanese, and in order to save the lives of his people, he chose to be patient and compromised, which was undoubtedly the greatest insult to a grassy Sidekbare. Looking at the arrogance and aggressive practices of the Japanese, and the erosion and squeezing of the traditions he adheres to by the advanced civilization brought by the Japanese, in this way, the race will be assimilated, the hunting ground will be cut down, and the Saidek will have difficulty stepping into the ancestral spirit world on the other side of the Rainbow Bridge. Mona Rudao could not sit still, rekindled the flames of resistance, and determined to resist, even if the clan was exterminated, he would fight for the worship of ancestral spirits and the belief totem. He said: "The Japanese are denser than the leaves of the forest, more stones than the muddy water stream, but my determination to resist is stronger than that of The Qilai Mountains." If your civilization has made us humble, then I will show you the pride of barbarism. 'Sedek Bale' can lose the body, but be sure to win the soul!! This is Mona Rudao's declaration of resistance, which also opens the prelude to tragic and tragic sacrifice.
Mona Rudao was a tragic martyr. This martyrdom spirit of his is not like what we call the death of Wang Guowei jumping into Kunming Lake, although Wang Shi also died of martyrdom. I think there are two kinds of martyrdom, one is the perseverance of faith, and the other is the disillusionment of faith. Of course, Mona Rudao stuck to his faith, knew that he could not do it, and led the whole clan to resist with a determined heart, and finally fulfilled his faith, walked to the beautiful Rainbow Bridge, and was able to live and meet with the ancestral spirits forever. Wang Guowei was faced with an unstoppable change in the times, confused and did not know how to deal with it, trapped in the mud of the past and could not extricate himself, when everything was disillusioned, he finally jumped into the lake with the note of "fifty years, only one death, after this life, there is no more humiliation". Mona Rudao is a bloody man who only represents the courage of the indigenous people of Taiwan. Humanity is "after the cliffs and mountains, there is no China". Looking through the historical volumes of the mainland's modern resistance to foreign bullying, I can't find a mona-rude figure.
The release of "Sedek Balai" set fire to a priest without acting skills, Lin Qingtai. Lin Qingtai has the ancestry of the aborigines, the body is large and tall, the face is clearly contoured, the eyes are resolute and composed, the texture is clear and strong, and his talent will be played by Mona Rudao, who is distinct, rough, strong enough, and manly. The original Sedek song and dance also added a lot of color to this film, the song is deep and dignified, and the dance is wild and jumpy, which will touch the heartstrings of the audience. The wildness of human nature, the fearless supremacy of faith, the straightforwardness and simplicity shown in this film, Han Han said well: "If civilization is not civilized enough, then let barbarism be barbaric enough."