Chapter 15 Chapter 15 Communication Code Between Two Generations

"Day and Night of Tianshuiwei" is of course a good film, but I don't think the key focus is on "Tianshuiwei". In fact, it can be seen that in order to give a fair portrayal of the specific sensitive scene of "Tianshuiwei", the director reveals that he is cautious and cautious everywhere. detailed viewing angle. Almost all dramatic conflicts in the movie will be handled in a balanced way, so as not to be exaggerated or pretentious (at first, through chatting with Zhang Jiaan in the mother-in-law's sick bed, I found out that your sister supported the two younger brothers to complete their studies. Before the announcement of the list, he told Zhang Jiaan that even if he didn't get into the sixth form, his two uncles would support him to study abroad, so as to show the contrast of gratitude); in short, he tried to avoid conceptual and sensational treatment, to achieve an indifferent life real feeling.Xu Anhua handled it well, but I want to point out that her most wonderful stroke is actually in the management of the relationship between mother and child.

Once upon a time, the generation gap between the upper and lower generations was also one of the themes that Hong Kong films cared about.It is clear that the chariots and horses take this as the outline, of course, like "Cream Ditch Fresh Milk" (1981), which uses metaphors to enter the title. The several groups of relationships between the upper and lower generations that Shan Huizhu focused on managing are mostly fragmented: Abandoning her family because of her career caused her son Ding Dang (played by Yan Qiuhua) to go astray under the lack of care, which eventually caused irreparable regrets; Hua (played by Chen Anying) is in a confrontational state. The latter was forced to be a fish ball girl by her mother, and because of her lack of age, she fell from a building and died on the way to "ghost walking".The above arrangements are of course full of drama, the director obviously wants to reveal that even though the upper and lower generations have different statuses, the obstacles they face are the same.

What's interesting is that even if the intention is to express the infinite care of the upper and lower generations, it is actually stuck in the same alley of vigorously presenting. In the father-son relationship between Ding Dang and Ding Fu (played by Hu Feng), every word of the former cares and every care, They are all very scarred, from affirming that you are poor and humble in front of your father, to getting a cup of cream ditch fresh milk for your father on the top of the mountain, all of them are handled with dramatic means that everyone sees.You can say that it is an attribute of the times. In "Children's Party" (1988), the bad boy protagonist Da Qiang (played by He Peidong) also reveals a complicated entanglement with his father who was originally from the underworld.In the end, the father always asked the old siblings to speak out on behalf of the son, and even died in the flames to protect the son. It seems that this is not enough to express the intertwined drama of the two generations.Perhaps the limitation of the times is also a fair excuse. In 2005, Derek Er Dongsheng dealt with the relationship between the upper and lower generations of the rich and the poor (Xue Haiqi vs Huang Qiusheng vs Yu Anan; Fang Zuming vs Zeng Zhiwei vs Mao Shunyun), and he did not necessarily have a sense of sensational drama conflicts. What a confrontational introspection.

That's why I think "Day and Night in Tianshuiwei" is even more valuable. Xu Anhua sincerely allowed Guijie (played by Bao Qijing) and Zhang Jiaan (played by Liang Jinlong) to have enough space for the mother and son to gradually show their life style.Although the director used suspense techniques to reverse the audience's expectations for the characters (at first, Zhang Jia'an was portrayed as a reclusive young man with nothing to do, and he ignored his mother, and then gradually showed his gentle and gentle side), but more importantly The only thing is that we gradually realized that this was an arrangement of double suspense—it turns out that your sister also has a side of indifference and indifference.After watching it, the audience realized that everything was a manifestation of your sister’s sophistication—she was too late to visit her mother when she was admitted to the hospital, and she didn’t bother to go back because of family festivals. I feel that this is an ode to a woman who has experienced tenacity.The director's respect for "Zhang Jia'an" also reflects the space from the language layout.In several scenes, Yoyo asked him to show the extremely "fashionable" expression of young people - when asked in the fellowship, if his mother asked him a question, he would always respond with "oh"; When others are concerned and ask, isn't it hard for mother to go to work and cook?He would sincerely answer the questions with the intention of not working hard; while the teacher praised him for his maturity and high emotional intelligence, and his mood did not fluctuate much when encountering problems, he directly stated that it was only because nothing major happened to him.In short, Xu Anhua never intended to use cheap drama design to deal with the communication problems behind the characters (whether it is highlighting contradictions or mutual affection), and it can even be said that she did not try to take a stand at all.Therefore, it is different from Hong Kong films in the past. We have seen too many face-makeup parents and children who are trying their best to act. Guess what functional dialogue will come out of the mouth.

Xu Anhua is different, that's all.