<h1 class = "pgc-h-arrow-right" > variations and elegy of the era</h1>
From the name of the film, we can see that "The Piano of Steel", steel is a definite word, and the term modified limited piano is modified. Can't help but think of the piano, but as the film says, "the steel mill and the piano factory look at it is a word, the difference between the old nose", so the steel piano is not equal to the piano, just like the mountain water is not equal to the landscape, this is between the steel and the piano, there is more than one piece of the sky. Chen Guilin, who aspires to become a musician, and Chen Guilin, a steel mill worker, have always been an insurmountable gap between beautiful art and cold industry, high-end art and ordinary people, ideals and reality. This is also a kind of poignant romance presented by the film.
<h1 class= "pgc-h-arrow-right" > the memory of the times and times that have passed</h1>
"The Piano of Steel" restores the original appearance of the old industrial area in northeast China in the 1990s for the audience, so that the audience can more truly feel this lost era and the workers' memories of that era.
The wheel of history rolls forward, and the group of people who are laid off are the generation that is "sacrificed." They go to the countryside young and are laid off at middle age, just like a grain of sand in front of the torrent of history, wrapped in wind and waves.
The film has two themes, one is to mourn the death of the mother of the old factory, and the other is to mourn the spiritual death of the old proletariat. At the beginning of the film, a small band plays against the backdrop of two high chimneys, and the link reads "Mourning Mother".
The chimney is the landmark of the steel foundry, a symbol of the old times and one of the threads that drives the plot. It represents the gradual departure of an era belonging to the working class.
<h1 class="pgc-h-arrow-right" > mechanically absurd, struggling and wandering</h1>
The mechanical and absurd atmosphere created by director Zhang Meng adds to the stage effect of the film, and the combination of the positioning method of the characters entering the painting from the right side and the lateral movement lens creates a feeling of the audience being present, and at the same time can have a certain bystander effect, so that the audience can see the ending and feel the characters constantly struggling and wandering in various encounters.
Still the first funeral scene, Chen Guilin's small band went to do a white celebration for people, the picture was just a horizontal movement when everything entered, and then it was shouted down by a big brother, but did not let the big brother appear. This is because "he" represents the precepts of an era, which does not materialize this person, it is enough to retain the voice, reflecting the misfortune of these people, not only from themselves, but also has an indelible relationship with the times and society. The camera moves sideways, the figure moves out of the painting, and finally tells us that this is a factory funeral, a working-class funeral, and a funeral from an old era.
The details of the characters' lives presented in the film, on the one hand, show the protagonist's efforts and persistence to the fullest, on the other hand, they also bring back to that era the supporting characters who are also laid off in the film, showing the fate of the small people under the changes of the times.
<h1 class="pgc-h-arrow-right" > melts into the scene and borrows the scenery lyrically</h1>
Writing articles often integrates the scenery and borrows the scenery lyrically, and sometimes the effect of the scenery is more profound and subtle than that of the direct narrative writer, and the tension is more expressive. In the calligraphy and painting works, there is also a little bit of white space, giving people room for imagination. There are a lot of empty shots in "The Piano of Steel".
In the film, after the scene of Chen Guilin and Xiao Ju's "divorce words", on one side is a mutilated, on the other side is a small house with a perfect rain canopy, and a street of Xiao Ser. The house alludes to the marriage of Chen Guilin and Xiao Ju like a pair of unbalanced wings that cannot fly, implying the fate of the two people who will be separated.
Also, in order to buy a piano for his daughter, Chen Guilin looked for relatives and friends to borrow money but did not borrow it. The first friend he sought out was a professional butcher working in a slaughterhouse, and after being refused to leave, the camera turned to pork. In this close-up, the pig is used as a metaphor for people, in the slaughterhouse of society, the small people at the bottom of the edge are slaughtered like pigs by life.
Later, when looking for someone to make a piano by hand, I also found the butcher of the slaughterhouse, and the metaphor here is more obvious, Chen Guilin and the pork stand in the same position, people walk out of the picture, leaving only the slaughtered pork dangling in the air. This shows that in an era of increasingly efficient pursuit, it is sad that those low-level craftsmen who cannot keep up with the pace of the times have become victims of slaughter.
When eating, Chen Guilin refused Shuxian's offer to change Xiao yuan's interest, insisting that Xiao Yuan realize his dream of piano, and the camera shifted left from the two people, allowing people to focus on the vast night outside the window, which gave the audience time to think: "What is the dream that is rounded" in the end? Whether it also predicts the fate of its failure.
< h1 class="pgc-h-arrow-right" > distortion and distortion of images</h1>
"Up-and-up shooting is an unusual way of influencing the composition of the picture, a reinforcing way of expression, which can cause distortion and distortion of the image, and generally only occasionally participates in the composition of the picture with a specific influence, which is used to shape the posture and environmental style of a specific character to strengthen the object's tall, abrupt, oppressive and other effects."
Whether it is a moving shot or a fixed camera position, in order to represent the bottom marginal characters in these societies, it creates a stage effect, allowing the audience in front of the screen to watch the story from the perspective of watching the stage play at close range, and disguised to give the characters in the story and the social reality they show a stage for display.
Like an opening shot. The dialogue between Chen Guilin and Xiao Ju is filmed from an upward shooting angle, and the canopy on the house in the industrial park opens up like wings behind the two people. Chen Guilin held the accordion and was simply dressed, standing in front of the dilapidated canopy, surrounded by his own small broken car, behind which was the gray workshop room; Xiao Ju carried a bag in one hand and a pocket in the other, bright and beautiful, behind him was an intact black canopy and an unimpeded road leading to the distance.
Two close-ups were cut to reinforce the sense of conflict between the two sides, and then the contrast between the canopy on both sides was highlighted by the air scene. This is a very commendable passage, the rain canopy is an allegory of the two, Chen Guilin as a laid-off worker has little future, Xiao Ju wants to divorce him with a rich businessman, it symbolizes the breakdown of the marriage, but also foreshadows the two people's future very different fate.
<h1 class="pgc-h-arrow-right" > there really is steel in the piano</h1>
The film reflects the tone of sadness but not sadness and the characters' rejection of sadness and a positive and optimistic attitude towards life. "The Piano of Steel" is the collective loss brought about by the reform and opening up, the old pipe organ, blowing out the former Soviet Union-like dance music; it is the use of black humor to dissolve the forgotten heavy industrial base of the times, under the dim sky, everywhere, lead-washed tranquility; but also a divorced middle-aged man and a group of faded industrial workers, jointly forging a piano; it is a word difference, the piano really has steel.
After the crossover montage of bullfighting and piano, the director returned the film to a plain plot: Xiao Ju brought Xiao Yuan to the old factory, and the finished steel piano was hung out by Shu Xian, which in the postmodern aesthetic category, this is considered to be "the mixed collage sense can highlight the absurd sense of the world, while showing the real spiritual world of the characters".
All in all, art is always dancing with shackles, and shackles are rules, shackles, and the feelings of the times.
—Past Review—
A body of poetry, a lifetime of love, a laugh of the world's madness
He was like a white flower tree blending into the night and glowing, step by step, the water of Qinghai Lake, lonely and vast
I'm selling sunsets, and you sprinkle light as generously as a god
A huge funeral about the wind and snow moon
Sigh, sad! One will become a thousand bones dry, poor riverside bone dreamers
The years have passed through the vicissitudes of time and left behind injuries along the way