Chapter 1201 'Warm Spring' meets 'Hiding Into the Dust and Smoke'
Chapter 1201 "Warm Spring" meets "Into the Dust"
Rural-themed films are difficult to make. In fact, the reason is very simple, because there are 10,000 thoughts in the hearts of 10,000 people.
Everyone's perception is different. Whether it is "Into the Dust" or "Warm Spring", some people will think that it is what they imagine the countryside to be like, but there will also be people who think that this is completely blind.
Random photography is completely different from the countryside they imagined or saw.
As a result, many people such as: "While I was indulging in self-movation, I discovered a problem. The audience for domestic literary films about workers and peasants is intellectuals and the middle class. Workers and peasants do not watch this kind of thing. The image of workers and peasants on the screen
We accept our gaze, but we only have fantasies about the workers and peasants and their lives, so there is a certain shame that makes me uneasy."
"I never want to watch a local movie again, when rural life was a part of my childhood. Every time I watch a local movie, I just appreciate the director's condescension, contrivance and falsehood."
"That's it? It just bullies the majority of the domestic audience that they haven't seen any really good rural movies. To be honest, these two movies are okay, but the scripts are extremely fake. The male protagonist in "Into the Dust" is out of touch with human nature, and the other
The characters are pure tools and have no character arc. In "Warm Spring", the world is completely beautified, so I won't mention it."
"In the context of arranged marriage, the fate of women is not the theme. Even the existence of female characters is to highlight and shape a warm man who is closely dependent on the land. The only thing that felt touched was the man's sudden anger during a farm work, and the woman
The trembling body standing next to the donkey. Demolition, urbanization, forced separation from the land under power relations, many narrated points have been shallowly hidden in the dust."
There are many similar comments.
Regarding this point, Zhou Qingquan also explained it in the column of "Film Weekly".
"The two films "Warm Spring" and "Into the Dust" were both produced by Li Yi, which is hard to imagine for many people.
We might as well change the environment. If Xiaohua is in an environment like "Into the Dust", what will be the trajectory of her life?
Will Xiaohua become Cao Guiying?
But they managed to bloom despite the suffering. They were both kind people and soon gave up their hostility towards each other. Ma Youtie would not bully Cao Guiying because of her incontinence, but bought her a coat to cover her pants.
, couldn't bear her being laughed at by the villagers; they accompanied each other and cared about each other. Cao Guiying waited for Ma Youtie to return in the cold night, and the kettle in his arms was heated over and over again; they worked hard to build a life together, growing wheat and hatching eggs together.
They protected the mud bricks and built the house in the heavy rain; they also had their own romantic moments, such as the shining light shining on Cao Guiying's face from the chicken coop hole, and they used wheat grains to print plum blossoms on their arms. On the summer night, they
Ma Youtie was sleeping on the roof and tied Cao Guiying with his belt...
After all, as we all know, Li Yi's origins are not directly related to the countryside and farmers. However, as far as I know, when director Li Yi was directing "Cinema Paradiso", he was interviewed. He once lived in the countryside when he was a child.
I lived there for quite some time.
Before meeting Cao Guiying, Ma Youtie could live like an ox or a donkey. But when he met Cao Guiying, when he realized the taste of love and being loved, this kind of life of living like an animal became unbearable.
I have seen many movie reviews saying that this is a peasant movie made for the middle class to "watch". I also admit this, but if they only see the most superficial narrative of the movie, it is not enough. Otherwise, they will not be "emotional" about the movie.
It will only flow into a kind of self-feeling pity, which cannot be transformed into any practical action.
In "Into the Dust", it is exactly the opposite of "Warm Spring". The indifference of human nature in it is appalling. It can be said that except for Ma Youtie and Cao Guiying, there seems to be no "good guy" in the true sense. We might as well imagine the same.
For a moment, if Ma Youtie and Cao Guiying lived in a village like "Warm Spring", would their fate be completely different?
If misfortune had not suddenly struck, then this would be the northwest rural version of the love myth. The love that grows under extreme poverty is extremely sincere and pure!
The accident happened unexpectedly. The sick Cao Guiying gave Ma Youtie food, but he fainted and fell into the ditch. By the time Ma Youtie went to rescue him, it was already too late. After sending Cao Guiying away, the villagers comforted Ma Youtie, "Don't be too sad, you are now
I have a house and food, and I can live a pretty good life alone."
Unfortunately, nothing happens.
Let’s talk about these two films. The theme of “Warm Spring” can actually be seen from the name of the film. This film mainly expresses the goodness of human nature. It can be said that there is no “bad” person in the film. Everyone
Everyone has their own shining points, such as the fat aunt, grandma Gen, Ergou, etc., etc.
Let's talk about "Into the Dust" first. Ma Youtie is diligent and honest, and works hard without complaint. However, when he is middle-aged, he is still being ordered around by his third brother, doing things like cows and horses. Later, when his nephew is getting married, the third brother arranges a random job for him.
In order to get married, let them go out to live alone (find a reason to drive him out). Cao Guiying has been living in the shed of his brother's house. He was beaten and disabled when he was a child. He is a bit rickety, slow in movement, has lost fertility, and has suffered from urinary incontinence. They
Without the right to decide their own destiny, the two lowest marginalized people lived together like this.
They are people who have been insulted, harmed and bullied. They are the bottom among the bottom in rural society. One is getting older, his working ability is deteriorating, the other is physically disabled and has lost his fertility. Outsiders don't care whether they think favorably or negatively about their marriage, they
Not being cared about, outsiders left them to fend for themselves.
This environment created this warm and refreshing film.
At the end of the movie, Ma Youtie lets go of the donkey, sells the grain, and pays back what he owes the villagers... He looks at Cao Guiying's portrait and commits suicide by taking pesticide. This is the ending implied by the movie, although the director did not tell Ma Youtie
What is the real ending of ", but I believe everyone will understand that he has actually left with Cao Guiying. The two most marginalized low-level characters interpret the myth of life-or-death love."
Of course, even if he does not have such experience, I still think that this does not prevent him from making local works.
But in fact, "Into the Dust" is more like a sad drama. In fact, at many moments in the movie, the more essential source of misfortune is pointed out: Cao Guiying was beaten to disability and lost her fertility. Rural women, especially the "old and weak"
The miserable situation of women who are "sick, disabled and crazy"; Cao Guiying's "blood was drawn", whether it is concrete or metaphorical; the peasants who were "sent upstairs" lost their land, their roots, and their lifeblood... But these are not the main narrative of the film, they are
It is supplemented by quite scattered scenes. Just like ten thousand Cao Guiying in the countryside, maybe only one horse has iron. What the movie presents is this "one in a thousand" beautiful love, which gives a beautiful feeling to two insulted people.
Hope, and then destroy it, stimulating the audience's tear ducts...
But I don’t want to blame director Li Yi at all. He has expressed it on the largest possible scale, just like the ending of Ma Youtie, which can be said to be open-ended.
Whether Ma Youtie dies or not actually does not affect the ending of this film.
