Chapter 78 How can flowers be attached?

If a movie takes women in Chinese factories from 1950 to 2000 as the protagonists, and their lives reflect the life of the big era, what scenes are necessary? A picture immediately came to my mind: female workers walked out of the factory's public bath with washbasins (enamel or plastic) on their arms, their hair wet behind their heads.The little floral shirts were tightly attached to their bodies, and they joked with each other, joked, or even pushed me and I shoved you.The protagonist among them—as usual, the most beautiful one stands out between these words and actions. The camera always favors her. She looks calmer than them. The handkerchief was tied loosely around it.Their movements on her body are always restrained a lot—people, a little more beautiful, will add a lot of shocking power.Those tiny bathing utensils were quietly placed in her washbasin.

Jia Zhangke's "A Tale of Twenty-Four Cities" became the only Chinese-language film shortlisted for the main competition unit of the 61st Cannes Film Festival, but I don't know if there is such a scene in the script that Zhai Yongming and him collaborated on?In such a movie with three generations of factory flowers as the protagonists, is there a scene where three actresses, Lu Liping, Chen Chong, and Zhao Tao, play factory flowers, with wet hair, walking out of the factory bathhouse?Even the alternation of the three paragraphs can be completed in front of the bathhouse: the previous generation of women enters the bathhouse with their daughters, and in the next shot, the adult next generation of women comes out of the bathhouse and has become the focus of female companions .

This kind of scene is really vulgar, and director Jia Zhangke probably disdains to use such a clumsy plot, but in the factory back then, bath tickets and meal tickets were distributed to workers by the union officers once a month or half a month, and wages On the Internet, there are items such as "cleaning fee" and "newspaper fee".A person is born in a factory, and the factory is his whole life. Behind every worker, there is a worker's family, from generation to generation, with the same format and clear context.Just like the factory flowers in "Twenty-Four Cities", the first generation came from Northeast China or Shanghai, and the second generation was born in the factory, went to a technical school or technical secondary school, and then returned to work in the factory.The third generation may have the opportunity to go to college, and they will try to get out and never come back.In fact, after 1998, they had nowhere to go back.In this endless transformation, the scene of female workers walking out of the bathhouse can be seen every day, the afterglow of the setting sun shines on them, and relaxing music is played on the factory radio.That was the happiest moment of the day, and it was also the most beautiful moment for a woman, which was first experienced by the factory boy and is still grateful to this day.

If the factory does not exist, how can the flowers be attached?Once an era has entered cinema, this era is over.Once the factory girls are frozen in Jia Zhangke's movies, the era of the factory girls will come to an end.And this full stop is often not a sigh, but the sound of directional blasting. So, how can I not love Jia Zhangke?He records the most universal voices of our time.If you ask me many years later, what is this era like?I will answer you: "Boom." What is "Boom"?This is our secret word.