In the past 40 years of reform and opening up, the huge output and quality of Chinese literature have increased simultaneously, providing a rich ideological driving force for various forms of literature and art.
Film and television works, benefiting from literary works, can be said to be a very eye-catching phenomenon in the past 40 years.
Many writers, in addition to writing successful novels, have also participated in the creation of film and television scripts. Their rich literary skills, strong humanistic thinking, and profound life experience make them feel good in film and television creation, and they inject extraordinary spiritual strength into film and television works more than those professional screenwriters who do not have novel creation.
Let's take a list of thirteen writers who have had a huge influence in the field of screenwriting in the 40 years of reform and opening up.
1. Li Zhun
For a time, the film works written by Lee Joon were the guarantee of quality. "Wrangler" and "Garland Under the Mountain" made the most influential films of the time invite him to do it.
Before the Cultural Revolution, he created scripts such as "Li Shuangshuang", and he almost became the golden oil in film screenwriters, the essential reason is that he has a familiar grasp of folk language and can adapt to different themes. Because movies rely on dialogue, a writer who can write a dialogue that fits the situation is a good screenwriter. ——Among contemporary writers, the only one who can compete with Li Zhun is Liu Heng. We'll focus on that below.
The screenwriting career has also changed the fate and emotional curve of Li Zhun's life.
During the Cultural Revolution, when other writers lost their creative opportunities, he was fortunate enough to create a film script that expressed the theme of zhihuang, "The Great River Rushing", which can be said to determine the literary status of the second half of his life.
The film script is not a success, because when the film was made, it was already after 1976, and the conceptual storyline and hard way of expression in the film were difficult to reach the psychological softness of the audience, but most of the plot in the film was transferred to "The Yellow River Flows East", including those plots that seemed to be still political and still strong to ambush the grain ships hired by the Japanese, but soon Li Zhunzhi timely abandoned the film structure of this big theme and turned to show the seven passions and six desires of the fleeing refugees in the city. And this is where the novel is grounded. The desensitization of "The Yellow River Flows East" is not complete, and the ambush of the Eighth Route Army explained in the front lacks follow-up explanations in the back, with high melody in the front and bass in the back. This can only be said to be the era at the turn of the seventies and eighties, when the trend of thought was as fast as the tide of Qiantang, and when it was a tide in the morning, it had become an outdated wave in the evening.
The mature depiction of gender relations such as stealing love and eloping hidden in "The Yellow River Flows East" is Li Zhun's own personal perception of emotions. At the time of writing this novel, Li Zhun was in his fifties, and most writers of this age in China had exhausted their creativity, but Li Zhun had a woman who had a huge impact on his life at this time. This woman was originally from an acting background, assigned to remote areas, she did not obey the assignment, stayed in Beijing, looking for opportunities, Li Zhun was in Beijing at the time to write "The Great River Rushing", and she met, fell in love, and finally flew in pairs, this woman became Li Zhun's "would-be wife", every time to Li Zhun's Beijing residence, just under the complicated eyes of Mrs. Li Zhun, openly shared the time between the two people behind closed doors, making Mrs. Li Zhun jealous, just like the eldest wife in "Wives and Concubines", admonishing the old man to love the body, Don't exhaust yourself. But Li Zhun's understanding of women has deepened a lot. He and his wife were originally matchmakers, Li Shuangshuang was created based on his wife, but Li Shuangshuang has not adapted to the times after the reform and opening up, she provides women with self-reliance, but if she is allowed to provide women with the kind of complex thoughts full of emotions, then it is conceivable that it is impossible. If Li Zhun only understands a single woman like Li Shuangshuang, then it is difficult to imagine that there will be such a meticulous and profound description of women's desires in "The Yellow River Flows East". If Li Zhun wants to keep up with the literary tide of reform and opening up, he must go beyond Li Shuangshuang, a single type of woman, to perceive the other side of women and the style.
And the woman he met after he was nearly fifty years old undoubtedly gave Li Zhun the opportunity to meet another kind of woman. The woman wasn't too pretty either, but Lee Joon was obviously fascinated by her. Li Zhun said: "She not only developed my emotional world, but also cultivated my keen sense of the opposite sex, love, and even strengthened my passion and ability in this regard." When I look at her, I feel my heart pounding and my blood is a feeling of life that I have never felt in the first half of my life. ”
As the saying goes, the greatest pleasure of a man behind his back is to talk about women, especially male writers, and some writers can openly talk about women in his lectures to hundreds of people, and even secretly send autumn waves to the women he likes. In the initial years of reform and opening up, Li Zhun often talked to others about his secret feelings about women, especially he claimed to understand why Yang Guifei won Tang Xuanzong's favor, because Yang Guifei had a special skill, so that Tang Xuanzong, who was in the middle of japan, could not stop, in fact, Li Zhun was talking about Tang Xuanzong, but it was related to his own feelings.
In fact, Li Zhun's family is not accustomed to Li Zhun's behavior of cheating and recruiting Xiaosan, because Mrs. Li Zhun actually has a little bit of thinking... How to say it, called feudal consciousness, is to think that Li Zhun, a beam that lifts the roof of the whole family, and marrying a concubine can also be psychologically acquiesced. Such a transformation in Li Shuangshuang's life may have been unimaginable when he first created this image. Li Shuangshuang, the representative of the mainstream consciousness of the times, will encounter a new era of sniping in the future, which seems to be a wonderful metaphor and symbol, but Li Zhun seems to turn a blind eye to Li Shuangshuang's later fate, and we, as bystanders, will obviously have more discoveries. This is also the reason why we are talking about Li Zhun's love affair here, but we feel that it is not meaningless.
Just like Zhang Yimou, he found a little girl who was about the same age as her daughter and bore him children, saying that it was Zhang Yimou's father's will, behind this, in fact, it was related to the traditional concept of Chinese, which was deeply rooted.
The cultural radicals who have taken up the shotgun to criticize feudal consciousness the most have not been able to surpass the consciousness they want to criticize.
When Zhang Yimou walked on the film world, he hated the old man, in "The Big Red Lantern Hanging High", he did not give the old man a positive shot, but he was obsessed with the women around the old man, in "Red Sorghum", "Ju Dou", "Shake, Shake, Shake to the Grandmother Bridge", Zhang Yimou let the young men grab the forbidden shoulders around the old man, covet the old man's beloved, but in the later stage, Zhang Yimou himself also became the old man, and began to defend the city in "The Great Wall", guarding the women in the city, that is his harem six courtyards. When the artist is young and old, the strategy is different, and the position is different.
Although Li Zhun was not a titan in the Chinese literary circles at that time, his energy could not be underestimated. The woman who is willing to follow him actually has her own motives, that is, she hopes that Li Zhun will help her and find a role that can be played by Li Zhun in the film crew written by Li Zhun.
Li Zhun can't say that he didn't make this effort, the role played by Li Xiuming in "Big River Rush", Li Zhun was written specifically for his beloved woman, but do you think that a big production like "Big River Rush" will give the green light to Li Zhun's personal private feelings?
Of course, the most famous actors had to be chosen. Obviously, Li Zhun's lover in his heart does not yet have such strength.
To this end, Li Zhun reneged on his word.
But Li Zhun could not stop there, and in his screenplay "Wrangler", he finally used his relationship with Xie Jin to arrange a role for his woman, which was a scene in which a female teacher lectured on stage when Zhu Shimao returned to his alma mater.
If you're interested, you can take a look at the video of Wrangler, and on the cast list, there's the actress's name.
However, unfortunately, this beloved woman of Li Zhun died in a car accident during a business trip, and Li Zhun heard about it and was in pain. After the death of this woman, there are even more strange things, this woman's nominal husband, think that this woman is already Li Zhun's person, her funeral should be handled by the Li family, do not pay attention to this, and later Li Zhun did the aftermath for this woman.
Since then, Li Zhun has suffered a great blow mentally, creativity has seriously declined, in 1984, Li Zhun wrote "The Yellow River Flows East", in 1985 he got a cerebral thrombosis for the first time, we contact the causes and consequences, the sudden death of this woman, whether there is any mental damage caused to Li Zhun, you can reasonably imagine it.
This woman can be said to be half a life of ups and downs, belonging to a tragic woman. In order to pursue her art and pursue a brilliant life in her life, she had to look for a way everywhere, and as long as she had the opportunity, she would not let go.
Today, such women still exist in a large number of film and television circles.
Are they tragic?
And Li Zhun distilled their tragedies and incorporated them into his novel "The Yellow River Flows East". Inside, a girl named Xuemei fell in love with a lover of locks with artistic talents, did not hesitate to take risks and violate the prohibition, secretly met with him again and again, and finally died in Huangquan, sacrificing her youth in life for desire. These women, if Li Zhun did not have the opportunity to experience it personally, could he write it out? The answer is conceivable.
Look at how "The Yellow River Flows East" describes Xuemei's love in a clever way: "For Xuemei, Lan Wu is both her friend, like her father, her brother, and her child. In short, all male love, she can feel and enjoy in him. And Xuemei was like a delicate scream to Lan Wu. Lan Wu took it in his hand and could quickly find its scale, he was so familiar with its timbre and volume, he was able to express his joys and sorrows all through this naar, he was able to use this naar to pour out his joy, sorrow, thoughts and hopes... "A woman is like an instrument, and the man's discovery of her is to activate her completely." The depictions in the novel that don't seem sexy are behind this, but they are paved with sexiness. Can Li Shuangshuang provide this experience and metaphor?
In the novel, a dialogue of Xuemei, it is conceivable that Li Zhun must have heard the original voice of this sentence: "As soon as I came to this small hut, my heart was like a flower, and it opened up in full swing. I feel free! I feel so happy! I can talk to you and talk to you about anything. I thought, I'm afraid that the real couple is not so close to us, right? I don't know why. I can't live without you. Not for anything else, I want to have a confidant, to have a friend. But...... I can not find. ”
In "The Yellow River Flows East", half is Li Shuangshuang, half is Li Zhun's beloved women, they are synthesized, forming the sky of Li Zhun's emotions, and Li Zhun restores and returns the women he has experienced to literature, which also makes the seemingly old "Yellow River Flowing East" still gush with passion and blood, so that the depth of the deep analysis of human nature in this novel has not lost its due significance. Isn't the novel's subliminal attention and vivid explanation of people's desires, and the cautionary words about women's involvement in the sea of passion, still largely staged at all levels in the film and television circle and the circle of life?
Lee died in 2000 at the age of 72. A film called "The Yellow River Flows East" is filled with his personal emotional secrets.