Yesterday's "Turandot" was written casually Ha, anyway, the movie did not talk about anything, I did not talk much.
You just need to know that it sucks.
But today's film will be a little more complicated, and I even think that I may really need a push to help everyone (including myself) better understand this work.
So let's just start talking
<h1 class="pgc-h-arrow-right" data-track="6" > Lyceum Theatre</h1>
<h1 class="pgc-h-arrow-right" data-track="7">Saturday Fiction</h1>
Before I started talking about "Lyceum Theatre", I think there is still some background knowledge that needs to be popularized for everyone.
This will also help people to understand the movie.
First of all, another title of the film is called Saturday Fiction, so what does this mean?
It corresponds to a literary genre in the early years of the Republic of China, called the "Saturday School".
People may not necessarily know the "Saturday School", but going along the lines, Saturday is a publication, and this publication comes from the "Mandarin Duck Butterfly School".
"Thirty-six mandarin ducks with the same fate bird, a pair of butterflies poor worm"
Speaking of the "Mandarin Duck Butterfly School", I believe that everyone has more or less understood, the style of this faction is to take romance novels as the main body, and the overall article type will be more customary and kitsch. They advocate literature as a tool for pastime and games, which as a whole is very much in line with the historical background of the chaotic years at the beginning of the 20th century, and is a historical product of the transition between ancient novels and modern novels.
Then the "Lyceum Theatre" in the movie, the left-wing drama headed by Tan Na, happens to be a faction opposed to the "Saturday Faction". So they will implicitly imply left-wing ideas and satirize social phenomena.
So to put it simply, why would such a film that was retried in the first instance be called "Saturday Faction"?
Why does Lou Ye, who has always performed well in the literary and art market, but has a mediocre performance in the commercial market, take such a name in his commercial films?
If these backgrounds are known, their purpose is self-evident.
I can only say that it is true that in the current entertainment environment, many fast food works are still kitsch.
We have been peacefully developing for such a long time, and it is indeed time for some literary and artistic works that can be left behind. I always feel that the fast-paced entertainment of the moment seems to be the "demise of romanticism".
If the younger generation looks at my generation, there are only some kitsch short videos, which will indeed be a very sad thing.
Well, back to the Lyceum Theatre.
The film is a film that doesn't get into the plot very well in terms of appearance, just like the introduction of the movie
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The film is based on Hongying's "Death in Shanghai" and Yokomitsu's "Shanghai".
In 1941. The famous actress Yu Wei returned to Shanghai during the isolated island period, ostensibly to star in the play "Saturday Novel" directed by her old love. But what is her real purpose? To rescue her ex-husband? To gather intelligence for the Allies? To work for an adoptive father? Or to escape the war with your lover? What is her real mission? As she embarks on a mission, it becomes increasingly difficult to distinguish between the enemy and the enemy, and a woman's fate is tightly held by the times, how does she make the choice to change the world pattern? Inside and outside the play, who can be spared?
The heroine of the film, Yu Yan, is a woman who is wrapped up in the chaotic times, and she is a well-deserved heroine.
But she is always just a chess piece, and she can only rely on other characters to hold up the whole game. Therefore, at the beginning, there will be a lot of characters, and the film even uses the form of "drama within a play" to present a more complex and diverse "Shanghai Island".
Such complex information is greeted at the beginning of the film, and it seems to the audience to be trapped in a layer of "fog". In other words, I was really confused when I first started watching it.
So I think one of the most important things here is to take you through the relationships between the characters in this movie.
This also makes it easier for us to understand the final expression of the film.
Gong Li plays Yu Yan, a female star who returned to Shanghai in 1941 during the "Lonely Island" period to star in the drama "Saturday Novel" by his old love Tan Na (Zhao Youting).
(Left-wing Repertory Theatre line up the content of the Mandarin Duck Butterfly Pie, at this time do you feel that the reality I said earlier is set on the baby)
Of course, Yu Yan's identity is very complicated, and the undercurrent behind her is turbulent, and at this time, a personal character appears one after another.
Needless to say, Tan Nazi is Yu Yan's lover and the director of the drama, and his identity is relatively clean, that is, a man who loves Yan.
But Yu Yan doesn't have just one man in Shanghai, the other is ni Zeren (Zhang Songwen), a former Two-Faced Kuomintang faction, who is Yu Yan's ex-husband. As a Kuomintang, he had previously done business with the Japanese and made a fortune in the country, and after the East Window Incident, he was regarded as an outcast by the Kuomintang and was imprisoned in Japanese prison.
Therefore, a considerable number of people feel that Yu Yan's purpose in coming to Shanghai this time is not simple, and some of them think that she has come to rescue her ex-husband.
The leader who holds this view is Tan Na's producer Mo Zhiyin.
Mo Zhiyin is the producer of "Saturday Novel", but he also has a identity, that is, the intelligence officer of the Wang puppet government, a veritable dog traitor.
The other person who intersects with him is Bai Yunsheng (Huang Xiangli), who is an intelligence officer in Chongqing of the National Government, in addition to being an intelligence officer, she has a strong literary hobby, so she has always liked Yu Wei in her heart, so that the next two people have an ambiguous relationship.
Next, in Japan, there are also two characters.
One is Saburo Furukawa, played by Oda, who is a senior intelligence officer on the Japanese side. But this character is completely trapped in the pain of his own wife in the whole chaos.
Kajihara, another Japanese man, worked much more seriously than him, and he was more like a killer by Furukawa Saburo's side.
The real force behind Yu Yan actually came from France.
Hubert was Yu's adoptive father, and he was the head of the French intelligence agency, so he hoped that Yu would cooperate with him to launch the "Two-Sided Mirror Project", allowing Yu to play his dead wife when Furukawa Saburo was unconscious to obtain information.
His men were Shapier, the manager of the Chinachem Hotel, who was a Jew and whose family was locked up in a concentration camp, so he was the only one hiding in Shanghai to work in exchange for a job.
All the characters appear one after another at the beginning of the movie, and they have their own forces behind them and at the same time have their own private ideas. With the occasional "play within a play", it can be said that the audience is completely immersed in the atmosphere of the times when the undercurrent is turbulent.
So this movie seems to me to be getting better, at first the movie feels a bit like the more chaotic "Color Ring", but as the story progresses, it has the feeling of pulling out the clouds.
Yu Wei is an actress, she not only needs to play a good role on the stage, but also needs to play the role around each other role.
So the performance at this time has two meanings, on the stage, in the chaotic era, Yu Yan is wrapped up, she can only play the pawn who is at the mercy of the person who writes the script.
Offstage, in the midst of personal lust, she is a sharp knife hidden under a comb, piercing the humanity that is covered under the layers of performances.
Therefore, the logic of the whole movie is moving towards the clouds, and all the emotions and desires come from the chaos, and finally they all erupt in the chaos, all presented to the audience.
Just like the lily love between Yu Yan and Bai Yunxi, which many people talk about, between them, it is not a power trade, but only a resonance of women of the same identity in the context of that era. Or it is a tacit intercourse with the same desire of the self.
Society holds us forward, and desire drives us forward. But when we are infinitely close to desire itself, we are no longer distinct individuals, but slaves to each desire.
Yu Yan of "Lyceum Theatre" is to use his own performance to tell everyone that even if you are in the puzzle, even under the intertwining of desires, you should maintain your own humanity.
So she asks Sharpy to protect herself, so she hopes that she can protect the cowardly Tan Na, and even hope to save her heinous ex-husband.
It is not terrible to have desires, it is terrible to sink in desires.
Yu Yan is a performer in the chaotic era, she obeys the ravages of the times, but she has cut through the clouds and torn apart the ugliness that history has attached to people.
"Expecting love in return is not a demand for love, but a kind of vanity." - Nietzsche
In the movie, we find that Yu Yan's love is sincere and warm.
Her death, not from the salvation of the country, but from her own private affair; she did not die on the way to kill the traitor, but died in the bar where she was dating.
She does not have the positive energy concept we are now calling for, and all her choices stem only from the kindness that human beings should have, and their concern for every living life.
Don't be a slave to desire, don't be blinded by the concept of the goodness in your heart, and like Yu Yan, be a sharp knife hidden under the comb, and cut through the vanity and disguise that this era has given us.
I guess that's what Lyceum Theatre is trying to say, but ask yourself, can I do it?
It feels hard, so it feels even more like the need for such a work, so that we can withdraw from the numbing FMCG entertainment and reflect on ourselves.
7.5 points, the first half is indeed too atmospheric, making the film slightly dull. Although there are many characters, the presentation method is intentionally complicated, making it difficult for the audience to capture the real emotions for empathy.
It feels like director Lou Ye is de-genreizing, but it always feels like there should be a more acceptable way for the public.
However, the bootlegs that Director Lou Ye carries in it will inevitably make people smile.
For example, "Only those who are castrated live to the end"
It's funny, it's funny