At the wrong time, meet the right person.
Text | Qingyan
Edit | Wang Zhuojiao
Today's Mid-Autumn Festival, spend a good full moon.
In addition to enjoying the moon, relive a classic movie with the people we love.
Chow Yun Fat and Chung Chu Hong's Fairy Tale of Autumn, Best Film at the 1987 Hong Kong Film Awards.
The plot is not pretentious, the lines are not pretentious, the emotions are plain and simple, and the aftertaste is timeless and long.
If there is a lover in the heart or around, there is no more suitable love movie to help.
This is a simple love story, exuding a faint sadness, but with the power to warm people's hearts.
Entrusted by distant relatives to work in New York's Chinatown, the bow ruler (Chow Yun-fat) has to take care of the Hong Kong compatriot thirteenth sister (Zhong Chuhong) who went to the United States to study alone and find her boyfriend Vincent (Chen Baiqiang). When she arrived in New York, she found that her boyfriend had already transferred his feelings and did not fall in love. Zhou Runfa secretly had feelings when taking care of Zhong Chuhong's daily life, and the two got along simply and harmoniously, comfortably and comfortably. It's just that whether it's the background, personality or values, they are all in opposite directions, and the two people are ultimately separated.
Zhong Chuhong and Chen Baiqiang
This love, which cannot see the future, is the fairy tale of autumn.
It should be said that it is an abusive love story, and it is also indiscriminately wrapped in sad emotions, and it is said that we can find a love story that can be benchmarked in many movies that meet and hate late or turn thousands of times.
Its core is to meet the right person at the wrong time.
But that still doesn't stop it from becoming a classic.
Because it is vulgar but not greasy, sad and not mournful.
What is collusive and not greasy is that it does not allow two people to break through the boundaries that do not conform to their identities, let two people stop abruptly after a sweet and greasy love, but let them stick to each other's world and look at each other in a unique way.
For example, Zhou Runfa, he is a low-level man who does rough work and speaks rudely on the Tang street in New York, and he is also a low-level man who will not have a woman's green eyes.
Although the mixture is very bad, he still maintains a kind, simple and frank personality: Zhong Chuhong first arrived, he helped regardless of returns; friends had difficulties, he did not say anything about money and contributed; because he was afraid of being discovered by Zhong Chuhong, he quietly changed the "bow of the ship to love the tea castle" written in front of the mirror (he previously called women all subwayle, used to call the thirteenth sister, which means that women are troublesome), to "someone loves the tea castle".
You see his words and deeds, where does he look like a grown man in his thirties?
This is clearly a big boy in adolescence, restless and sensitive.
It is precisely because of this personality that it is decided that at the end of the film, he sold his car and bought her beloved watch chain for Zhong Chuhong, which is reasonable.
All his actions are instinctive and sensual.
But Zhong Chuhong is different, this woman with a wealthy family and who has been hurt by her ex has always been in a cautious and cautious emotional attitude. So she understood Zhou Runfa's original intention from the beginning, but did not give him a response for a long time. And when she found that she also had feelings for Zhou Runfa, she would quickly write a letter to her best friend to analyze it and say that -
"We are very, very good friends, but we are people of two worlds."
"People from two worlds can't be together, except in a fairy tale."
All her actions were carried out with restraint and rationality.
This makes the film transcend the possibility of vulgarity: the asymmetry of love is not only because of identity, class and status - or that every couple and family in these real worlds must pay attention to the worldly concept of "door to door", which is a bluff in the face of true love.
What really stands in the way of emotions happening is how we see each other and ourselves.
The attitude towards the relationship between the world and the self is the stumbling block of true love.
This is the case with Zhou Runfa and Zhong Chuhong: he is instinctively emotional, and she is rational and restrained, which makes the love game unsustainable, because if someone attacks, the other side will defend, and someone will retreat, and the other side will stop.
What is sad and not sad is that we can see the original self and the truth of love in the movie.
It is true that love is fascinating because of the ambiguity of Zhong Chuhong and Zhou Runfa.
When love can't see through and can't grasp tightly, it is particularly beautiful and hazy.
However, if you think about it, if it is really so beautiful, you will not like it and like it, but you are not willing to marry him.
And "Autumn Fairy Tale" is by no means to forcibly reverse the facts, nor is it to use a seemingly open-ended ending to realize our dreams. If so, then the film loses the possibility of becoming a classic. On the contrary, it is for us to feel once again in the movie the innocence and simplicity of when we faced the throbbing of love.
After all, movies are shadows of life.
Watching a movie is reflecting on ourselves.
Therefore, when we see Zhou Runfa selling his car in order to buy gifts for Zhong Chuhong in the movie, see him running back excitedly with gifts, see him chase Zhong Chuhong's car far away in the sunset, and see him standing in the middle of the road with a thin body, forming a strong contrast with the huge buildings around him, we see more of ourselves at that time, facing the regret and loss of love.
When Zhou Runfa is wrapped up in the surrounding buildings, the film is like inserting a metaphor here: this man who once shouted to the theater security guards, "I can have nothing in my life, but I can't live without dignity", when the beloved person gradually disappears, in fact, even the dignity that he thinks is precious has been lost.
If you can vaguely feel this metaphor, you will not feel that at the end of the movie, the director arranged for Zhou Runfa to realize his dream, and opening a coastal restaurant by the sea is a kind of goldfinger that belongs to the main creator, but he will feel that this treatment has great rationality:
Zhou Runfa is too strong, in order to love him who has lost his dignity, he will never allow this dignity to fall to the ground and cannot be picked up. He would be like him in The True Colors of Heroes: "I waited for this opportunity for three years, not to prove that I was better than anyone, but to prove that I must take back what belongs to me." 」 ”
Rather than saying that the last hotel restaurant is the main creator who is out of touch with reality, it is better to say that this man with a strong nature, by realizing the dream he has said to his beloved, finds the possibility of making up for it from the reality level to redeem his self-esteem.
Only in this way, the two people at the end look at each other and smile, showing true openness and possibility.
This in turn makes it jump out of the level of reality, from the perspective of values, to achieve male and female reciprocity, which also makes the two people have the possibility of emotional recurrence.
Because only men with self-esteem deserve the emotions of their beloved.
END