Author: Mao Jian
“Myth of Love” is the biggest myth of the 2021 domestic screen. I particularly like it six or seven or eight times, and if I don’t like it, I scold it every time. The reason for scolding is probably in two directions. One is that there is a world of leisure and money in Shanghai, one mile of foreign markets, and the whole world of coffee. The other is dialect snobbery, which smears the bottom class and creams the citizens of the world.
Movie “Myth of Love” (Director Shao Yihui) poster
The scolding is not unreasonable. The little cobblers in the French Concession are philosophers of both sexes. They can learn brands in English and have their own coffee time. However, if the political correctness can make a good film, then the professors of the Department of Cultural Studies can take it. Golden lion and silver bear. Literature and art are ultimately the product of arrogance and prejudice, arrogance is taken internally, and prejudice is used externally, as long as the dose is not a tiger or wolf, and it does not eat away the worldview of others. As for “Mythology of Love”, I know my field well, occupying two kilometers in the west, but unexpectedly painted a portrait of middle-class love.
What is middle-class love is to use an elegant and decent way to regulate daily erotic desires and to consolidate the tastes of the class. Rohmer is the standard-bearer of global middle-class love. Throughout his life, he used forty movies to write the same kind of humanity and the same story: how middle-class men subdued temptation. Therefore, Rohmer’s movies have no sex scenes, they are always dialogues, very literary, very philosophical, and prose, coupled with the natural light of impressionism, curtains in the breeze, the lawn like a girl, and the jealous and gentle sea. There is nothing in this world to die or live. Love, the rising of the sun, being together or not, all receive tender irony from life. At the end of the 1960s of the revolution, the Gundam surged over and the middle class came on stage. Don’t use hot lights, don’t burn jade and stone, don’t be dazzled by nobles, and don’t cry for the poor. So the spotlight of history finally came to Rohmer.
And “The Myth of Love” is almost our Rohmer declaration. Many people say this is a watershed in Shanghai movies, but I think this is a milestone in Chinese screen love. Remember, from now on, we will have no ironclad love.
Lao Bai and his surrounding world are bright, gentle and safe. The middle class is better-looking, and he wants to be frugal. Just like Lao Bai wants to buy cheap trendy goods and impending delicacies, this is what they can squeeze into the center of the world with clearly marked prices, a little upper-class sense of society, a little sense of lighting. This world cannot tolerate the whimsical, so Lao Wu went to meet Sophia Rowland after he finished telling his story. To be honest, this myth is not suitable for Wuyuan Road at all. The biggest romance of a man on Wuyuan Road is to wait for Miss Li to arrive at a candlelight dinner. His biggest embarrassment is also that Gloria arrived first, and may be caught after the confrontation. She was lucky. Fortunately, the middle class does not advocate passionate love. They like to hover over ambiguity. Lao Bai and his ex-wife can’t make a clean break, nor can he and Gloria have a clean look. On the other hand, he and Ms. Li couldn’t get to the point where they could do a lot of fire. They deleted the impulsive words on WeChat and changed the sentence “You are so cute”.
The middle class is well versed in the cost of love, and when interacting with people, they put on band-aids before going into battle. Miss Li is high-spirited, but she also claims to be a downhill person. They have suffered a lot of injuries to this day, and they are not covered in wind tunnels like they did when they were young. They don’t know how to be Lin Chong or Gao Ya’ai, all the desires of the body have been replaced by the desires of words, and all the temptations are not clinical temptations. Therefore, everyone is a good eloquence. If you train for another three or five months and learn some intellectuals, you can also be sent to Woody Allen’s movies to chat. However, in the sense of video history, “The Myth of Love” is definitely a good thing, not only overcoming the sex scene, but also overcoming the kiss scene. Lao Wu’s love is a myth from beginning to end, and Lao Bai will also become a myth. The so-called myths are not only legends, but also the words of gods and gods. This movie, with Xiaobo’s great ability to create miracles at the end of the year, is mainly due to good speaking skills, and Shanghai dialect is the guarantee for this speaking skills to become mythological skills.
In the 1980s and 1990s, Shanghainese had a sense of superiority. Asking prices in Shanghai dialect would give you different answers than asking prices in Mandarin. Therefore, foreigners also like to learn to speak Shanghai dialect. Be more precise. Then by the end of the last century, the advantage of Shanghainese was slowly lost, and the Shanghai dialect was also driven from the inner ring to the outer ring. In the past two decades, Shanghai has somewhat meant to be brave, but Shanghai dialect has slowly washed away the cultural negative equity of the three aunts and six poos in the process. The Shanghai dialects in “Flowers on the Sea” and “The History of Romantic Demise”, although they are all Don’t be awkward, but the Shanghai dialect has become a kind of accented words spoken by people with an accent, or in other words, finally, the Shanghai dialect is ready, and he returns to the living room from the alley.
Since the birth of the middle class, the living room has been their main battlefield, and the Western District is two kilometers away from the living room in Shanghai. The Western District converges with the Shanghainese, and daily life has once again been possible one centimeter above the ground. This one centimeter, in terms of ideology, has too much room for criticism, especially the taste and aesthetics of the middle class. Moreover, following the route of “Myth of Love” for ten years is a dead end. The French New Wave is If you die like this, the movie becomes a novel in the end, so it’s better to just read the novel directly.
However, even so, the occurrence of “Myth of Love” today is still a sniper battle in Chinese movies. It will prevent our movies from becoming pornographic because it removes the bedroom. It will rebuild the ecosystem of Chinese actors, because the average age of two males, three females and five starring actors is more than fifty. The screen share of forty-five-year-old actresses is compared to their feminist lines. This is what will truly come to Japan. Feminism. This film also demonstrates the low cost of non-traffic, and demonstrates how far an obscure film director can go. These are all special needs in this era of low sentimental and intellectual images. Therefore, even if we never see the love of overwhelming mountains and rivers and seas for a long time, I still feel that this is a step that Chinese movies can withstand, just like Neruda must sing a desperate song for twenty love songs. s song. (Mao tip)
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责编：崔益明 ]
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