Chapter 21 20. Give Tian Zhuangzhuang

Strong: Hello! I watched all three discs you sent me seriously.I have some thoughts that I want to share with you, whether it is right or not. One of the most prominent ideas is: It is a pity that Yuwen's inner monologue was deleted; in my opinion, not only should it not be deleted, but (for reshoots) there is a lot to do.Because, the monologue is not just for the viewpoint, let alone to narrow the distance with the audience. In my understanding, it is specifically to draw a lonely and closed world of jade patterns.What kind of person talks to himself all day long, and it's full of superfluous words?A prisoner, a person isolated from the world, a person who is unable to speak out in the face of great spiritual oppression.And the monologue achieved this effect in a single stroke—that is, in the world where everyone is present (as shown in the pictures and performances), it opened up the world where Yuwen is alone (relying on the slow And inexplicable inner monologue).This effect, in my opinion, is difficult to achieve with no amount of details other than this method.That's why the monologue seems to ignore common sense, and sometimes it overlaps with the picture, as if it is superfluous to pull a foreign story and explain it.As a usual voiceover, it is undoubtedly redundant, but it is appropriate for a heart and soul with nowhere to go, and it is the only evidence that Yuwen is still alive.

Is this Mr. Fei Mu's intention?Or is it my misreading, or appending?I think it should be the former, otherwise, according to common sense, how could he not see the overlap and long-windedness of this monologue?But I venture to imagine that Mr. Fei's loneliness seems to be a little frightening—couldn't the thread of this monologue be followed to the end?For example—before Zhichen came, the monologue was a closed and hopeless world; Heart and soul, all the excitement, rush, and hesitation when I thought I saw a kind of hope unexpectedly; and when Yuwen and Zhichen seemed to break out of the wall, the world of monologue quietly dissipated. In the end, when Zhichen left, or when Liyan was dying, the monologue gradually surfaced again, that is, Yuwen had a faint feeling that it was still her inescapable fate.

In addition, I think, when it comes to difficulties, etiquette is not necessarily lighter than jade patterns.If Yuwen is the lock of monologue, Liyan is almost silent annihilation. "He shouldn't die either" (roughly speaking), such a line is too straightforward.In particular, such a person may die, die silently, and die into eternal silence; only in this way, "he shouldn't die either" can be sighed deeply.I imagined: If Li Yan really died, what would happen?Can Zhichen and Yuwen be freed?Can you feel refreshed in body and soul to cast light outside the small town? ——These ideas may be superfluous in this film.I just think that the original film may still be rigid in the liberation of human nature, but the liberation of human nature was (or still is) accompanied by the annihilation of human nature and the escape from the human situation.

Is it possible to draw a silent world for etiquette with speechlessness, sitting dry, and back view?In Fei's film, there is a scene where Liyan finds out that Zhichen and Yuwen are saying goodbye. I think, maybe it is better for Zhichen and Yuwen to find out more than once that Liyan is leaving quietly.That silent world almost lost the power of pain, only silence and sinking continuously, sinking to the point where there never existed a soul in that body.In my opinion, Liyan should never cry. Crying is the lightest kind of sadness. Liyan should have finished crying long ago. Now that Liyan has realized the relationship between Zhichen and Yuwen, for this hopeless and kind-hearted person, It's just that a long-pending question finally has an answer: I am indeed redundant.He should have walked quietly.How could anyone cry and then commit suicide?

If Liyan is really dead, then there will be more drama in the future; then the entanglement between Zhichen and Yuwen may reach a new level.The ending can be open: under such a situation, Zhichen will of course have to leave, but what escapes is his form, and what can never be freed is his heart. He will probably leave a word for Yuwen, leaving an ambiguous hope .What about Yuwen?Knowing that the future is still suspenseful, the monologue reappears; the monologue at this time has many meanings—it may be closed again, it may be another annihilation, or it may have another future.Therefore, the "small town" is not a "spring" in vain, but it may be so in vain.

The annihilation of words, the imprisonment of monologues, and the suspense of the future—for those who are as pessimistic as me, this is almost the fundamental situation of life; and this constitutes the tension of drama and the three-dimensional life.When you say distance, it seems that you only mean the time distance between today and the past, and the distance between the audience and the plot, but what matters is the distance between hearts (in and outside the play), or the closure of hearts to hearts.Temporary suppression of human nature does not seem to be difficult to release (for example, if Li Yan really dies), what happens after Wei Nala leaves is still an eternal doubt.In my opinion, the meaning of the small town is not limited to the arrangement and maneuvering of a relationship between lovers. I saw this film on TV a few years ago, and left an impression similar to "Last Year in Marienbad". Know your mistakes.But why misremember it?There is no reason at all; there is also a ray of breath floating in this film, a message like "Last Year in Marienba": we are asked to wake up from reality and return to dream!Chinese people pay less attention to dreams than to reality (dreams are mostly implemented, such as getting rich, such as housing distribution and winning prizes). This drama made me surprised that there were masters in China long ago, but they were buried again.

Everything else is fine, not much to say.The words don't convey the meaning, let's talk again when we meet.Faith, the only advantage is that it can be considered, and there is nothing else Best regards, and greetings, Lord Lingtang!One year at the Educated Youth Gala, she deliberately came down from the rostrum to talk to me.I saw her on TV a few days ago, and I was moved by the old man's sincere, frank and unadorned words. Tiesheng 2002/8/15