The secret sun, a secret ray of sunlight, is also a ray of sunlight refracted in the cracks.
If Li Cangdong is not willing to tell the story of a woman's insanity, then why are we still so fond of "Miyang"? In the Korean film genre, the existence of Lee Cang-dong is very strange, and when "Parasite" bombards the fan circle, everyone is uneven for Lee Cangdong, which roughly means that Bong Joon-ho is precise in design, not as smooth and profound as "Burning".
As a result, the three most eye-catching masters in contemporary Korea have become the target of public criticism, and who will become the first director has become a nonsense.
Before "Memories of Killing", Bong Joon-ho was already well-known in South Korea, and he had long been in the chair of The most outstanding director in South Korea, and he played at the top of commercial genre films, which no one could match. After "The Monster of the Han River", he became the king of the box office, consolidating commercial art into his own film kingdom, Hollywood saw its unstoppable sharpness, and let him shoot a number of Chinese and Korean films such as "Snow Country Train" and "Jade", throughout its images, monsters, trains, magical animals, criminals, class rule, seamlessly integrated in a compact and straightforward narrative approach.
Some people say that Bong Joon-ho has changed the status of Korean cinema in the world, and he deserves to become the first director in Korea.
Memories of killing
Han River monsters
Park Chan-wook has no hesitation, he is an aestheticist, does not care about commercial success or failure, only cares about whether his works can set off their own temperament, Hollywood producers put Nicole Kidman and Matthew Goody's standard in his images, "Stoker" although it did not win a piece of praise, but let people feel Park Chan-wook's weird aesthetics.
He then returned to South Korea to shoot "Miss", found such literary and artistic celebrities as Kim Min-hee and Ha Jeong-woo, and then surprised four in Cannes, but he still failed to help Korean films win the first Palme d'Or, but fans know that Park Chan-wook's films, the form of the extreme beyond the needs of the text, the two are just right.
Miss
If Li Cangdong is not a writer, what are the characteristics of his filmmaking?
There is no doubt about the script, among the three, Li Cangdong is the king, and the number of films he shoots is not much, but on the old way, fans even claim that he has the epitome of contemporary Bergman. The fluency of his authorial system can be seen everywhere in ordinary chapters, and he always has an unconventional ending, and even has the effect of sublimation and finishing touch. From "Burning", the existential thinking of Camus spread into the civilization of social classes, quite a kind of shadow of the spiritual teacher, but also inevitably caused his distance from the audience to gradually increase, he is also a poet wearing a photographic coat, we can find his wisdom exposition of "hidden" in "Poetry", Li Cangdong people as his name, a drop in the sea, the rising sun, in a vast world pattern there is a clear sense of self-awareness.
burn
poem
"Miyang" also has a historical significance, it makes Jeon Do-yeon become the first Cannes film queen in South Korea, conquered all the members of the jury led by Stephen Frese and Maggie Cheung, and also took away the Asian Film Awards, the Korean Green Dragon Award and other film queen laurels, so what is the magic of this role? Can people be amazed, what secrets does Li Cangdong place in the depths of the character? At the same time, why is the composition and output of this film fascinated by most audiences but resisted?
Quan Du Yan
<h1 class="pgc-h-arrow-right" > secret</h1>
A woman brings her child to her deceased husband's hometown, and the city is called Miyang.
We often say that the unity of the author system is as if writing a novel and a poem, and the unity before and after is extremely tightly seamless, which is a concept with our primary school composition, how to echo the beginning and end? How to avoid mismatched? At this point, Li Cangdong is a forerunner, whether it is "Oasis" or "Burning", he has highly unified its title and content, allowing the audience to enter his secret space from the beginning of the text and the wedge.
People in the town are quite curious about the arrival of strangers, and this woman seems to be different from ordinary people, her beautiful long-cherished wish is to let the child feel the warmth of miyang, and people talk about why she still wants to return to the hometown of her dead husband, there must be a brain problem. But she didn't care about these remarks, just walking in her own calm and elegant world, becoming a piano teacher, suggesting that the clothing store owner would be better off with a bright finishing style business. Such a female character, soft and sensitive, full of goodwill and purity, has come to a rather sophisticated and mediocre place, and the out-of-place status quo makes the audience feel uncomfortable. Obviously, this is the most contradictory salient point in Li Cangdong's pen, he wrote such a character, do not care about singing the glory of art, nor do he care about criticizing the falsehood of reality, just to lay the groundwork, so that the construction of the whole film becomes a black box.
This black box, blocked by a sense of identity. But the heroine seems to care, before the accident came, she calmly faced her own experience, abandoned the past, no haze, just want to live in peace, in the depths of the sun, trying to grow.
<h2 class="pgc-h-arrow-right">
</h2>
<h1 class= "pgc-h-arrow-right" > against "god"</h1>
Lee Cangdong's lens language is extremely soothing and restrained, he uses the narrative as a means of expression, without much purpose, which is extremely rare in Korean movies, and the plot can not find a trace of pandering. Telling stories for the sake of storytelling is not a clever means for creators. I said that Li Cangdong is the secret yang, reflecting people's inner conscience and sentimentality. The heroine's actions are provoked mentally and physically after her son is kidnapped and killed, she is capricious and drifts away from the path of the self, using religion and belief as a door, trying to bury the fears of those guilt. However, this is only an illusion, people get faith because of the care of love, her faith, is based on self-hatred, for this reason, she once again sees "God" as the source of all evil, trying to fight against God.
Let's look at her three confrontations with God, which is extremely important. In the text, it is difficult to see the contradictions and conflicts set by Li Cangdong, and all the flashpoints are focused on people, rather than "things" themselves.
The first time she seduced her priest to let God know that everyone is guilty, she hoped that God would see the nature of man and should not waste redemption on the murderer, she asked God: Why did I not forgive the murderer, but you gave him liberation and light.
The second time she walked alone to a church rally, replaced the church music with a mocking song, people were inspired in a burst of redemption and deliverance, the painful struggle was unobstructed, and she left silently again, she satirized God: You are not credible, you are the most evil.
The third time she could not get a sense of security from the environment, but also constantly struggled in regret, simply she cut her own hand to hurt herself, she went to the street to pray for help, it turned out that she was seeking a strange shelter, she wanted to personally prove whether the warmth and cold of the human heart can be redeemed in the sun, she asked God: Can I still be redeemed?
< h1 class="pgc-h-arrow-right" > angel</h1>
"Miyang" is not an autopsy of crime and punishment, Li Cangdong set up two angelic characters in a gray darkness, they walked into the human world in a strange appearance, the purpose is simple, waiting in the corner, they are the source of God, are angels, but we are difficult to detect.
The male protagonist played by Song Kanghao, rough behavior, ordinary appearance, but with extraordinary patience and love, only waiting by the heroine's side, when she needs help and comfort, he has no remorse, he watched the heroine fall into the cliff, he drank loudly, until the end, he has been waiting, without reservation. He walked into her life like a god in the most plain way, and she was unconscious, which is also the biggest feature of Li Cangdong's construction of characters, in human nature, good and evil, black and white, are always mutually written.
The murderer's daughter, because her father is a murderer, she is ashamed of the heroine, because her father was arrested in prison, she was bullied. But she had no complaints, and in the final haircut scene, we could see a fusion point where the murderer's daughter cut her own hair, she bowed her head in shame, silently cut off her long black hair, and was asked why she came out to work, and she only replied: The craft she learned after entering the juvenile detention center. This is a misinterpreted angel, she has no ability to fight sin, only to root herself in the land of good intentions, no matter how sinister the environment, she still has not changed her original intentions, to be a good person, a good person.
If this is a literary novel, then Li Cangdong has undoubtedly achieved these three points: theme, thought, and complexity.
But this is a movie, and Li Cangdong still does these three things: flow, deep meaning, and simplicity.
He portrayed the analogy between man and man as a book of God, recording a "Bible" of good intentions and sins, in which no one can expound the truth, only man himself, is the source of this record.
This is also the reason why Li Cangdong's poetic language will distance themselves from people, they are no longer interested in the characters, but rely on the story, in the end, watching Li Cangdong's films, as if reading a book full of original sin of the soul.
But this is also the reason why Lee Cangdong is different from Bong Joon-ho and Park Chan-wook, he has no intention of paying attention to the surface of the story, nor does he have the heart to set endless surprises in the twists and turns, and he has no intention of achieving the ultimate in aesthetic unity. He was just talking about a period of life, from the murder to the conversation with God, from self-madness to self-redemption, from demonic possession to angelic companionship, and finally the dense sun, in a melancholy sound, shining in the fragrance of the earth, like a warm current, wandering in the depths of our hearts, long unforgettable.