In the evening of spring, I wandered aimlessly on the streets of Shanghai. When I came to the corner of Maoming South Road, I subconsciously looked up at the Italian Renaissance mansion-style building. It was blocked by the construction retaining wall. It seemed that the interior was undergoing major repairs. So I went around to the back door and found that it was still open, and the red neon tube was flashing a few words behind the shabby leather-faced door: Lanxin Theater.
The Lyceum Theatre is not a majestic and tall spectacle building, it is easy to miss, but it has witnessed the development history of modern drama, film, music, singing and dancing in Chinese cities since the mid-nineteenth century. Countless celebrities, celebrities, and socialites must have left wonderful stories here. Anyone who intercepts a paragraph should be a legend.
“Lanxin Theater” and “The Spy’s Wife”
However, we can’t expect Lou Ye’s “Lanxin Grand Theater”-the big theater, the big theater, the difference between the word is very far. Perhaps, this film is not dedicated to “reproducing” the atmosphere of old Shanghai from external details: black-and-white films look retro, but in all kinds of films about old Shanghai, it is obviously not the kind of “Shanghai style” that is closest to the public understanding. , Such as cheongsam women, “Old Kele” and so on, but something else. It should be noted that Lou Ye, a Shanghai native, is not unfamiliar with Shanghai. His early “Suzhou River” is the best capture of the Shanghai atmosphere in the 1990s, and there is no one. What he pursues is closer to the pulsation of that era-specifically embodied in his grasp of Mu Shiying and Liu Naou’s “New Sensation School” novels.
If we have read “Platinum Female Body Statue” or “Shanghai Foxtrot”, we will suddenly feel the pulse of early urban modernity in “Lanxin Theater”. This story partly comes from the novel “Shanghai” by Japanese “New Sensation” novelist Yokomitsu Toriichi. Lou Ye’s greatest advantage is that he can always find this “feel” to make up for some of his shortcomings: his films always have various shortcomings in the stories and scripts, resulting in some uncomfortable “literary accents.” And this kind of “literary and artistic accent” followed by the crotch of the script, and the absurd accent went out of style. Fortunately, “Lanxin Theater” was spared.
In 2019, the finalist of the main competition in Venice, “Lance Center” may have to be more interesting than the following year’s Venice Film Festival’s Best Director Award and Director Kiyoshi Kurosawa’s “Spy’s Wife”, or in other words, to see this. The value of this movie. Both “Lanxin Theater” and “The Wife of Spy” are outside the mainstream war narrative, and both use the shell of spy war dramas to express the director’s personal thinking, and both place the War of Resistance against Japan in the larger world anti-fascist war Background. Both heroines are actresses, but one is a star and the other is an amateur. Both films have “play in play”, neither have slogans or sentimentality, which match the atmosphere of the film.
The particularity of “The Spy’s Wife” is that it conveys a belief: there is a truth (justice) above national interests, which is more important to the motherland in the long run, so I choose truth (justice). This film is obviously similar in many places with Masamura Yasuzou’s “The Wife of Qingsaku”, and “The Wife of Qingsaku” has a more in-depth satire on the spirit of Bushido, militarism and national fanaticism. “The Spy’s Wife” may not surpass the predecessor’s Japanese directed anti-war films. Its unique feature is the psychological isomorphism between husband and wife, family and country, as well as the clever design of integrating various types of films. Japan was a defeated country in World War II, but the real anti-war films in Japanese movies are a kind of “victory” writing of the defeated. I think “The Spy’s Wife” can also be included in this list. The idea and strategy of the film are quite interesting, especially in the context of the global right-wing forces. One of the reasons it can be included in this list is the tortuous growth and maturity of the heroine’s spiritual consciousness, and the gradual identification of “justice”.
“The Spy’s Wife” has a world background, that is, a contest between multiple countries on the Pacific battlefield. “Lanxin Theater” also takes the Pacific battlefield as the background, showing at least the game of China, Japan, the United States, and France in this war. This is actually a difficult subject to shoot. The narrative of suffering is not only a display of scars, nor a dementia of the other party. It can only show that we have not grown up in the sufferings we endure. We must know that it is precisely in the sufferings that we are the most able to explore the spirit and the spirit. The most likely to contain the sublimation of the soul, the writing of low intellect can hardly be called the writing of a winner. Lou Ye obviously knows the difficulty, but he is still willing to do some mining in this dimension, which is worthy of recognition. At the same time, the audience does not have to have unrealistic expectations. After all, we cannot expect all directors to make a “Son of Sol”.
Gong Li and Oda Chere
“Lan Heart Theatre” is nominated for the main competition in Venice. It is already a breakthrough, a breakthrough in the mentality of creators-the winner will think about the significance of his victory to the destiny of all mankind. The theme of World War II has never been “cold” in world movies. It is not difficult for us to observe how American, Soviet, and British films tell their own “victory” over and over again, and how French films tell their own “resistance” and cleverly combine It turns into “victory”, how can German films not “victory”, otherwise it would be “victory of will”. Of course, “Victory” requires detailed investigation and reflection. In many cases, it is not the same as a cheering scene, nor is it the same as a “grand narrative.”
The role played by Gong Li in the film is very important, and only she can support it, making people ignore the various bugs of this role in literary creation. I have seen a comment to the effect that it’s not that the whole process of stinky face represents the toughness of the female killer-this is really not understood, it is regarded as “The Wind” and the logic in the escape room must be closely integrated. Sewn the role. Yu Jin, played by Gong Li, has multiple identities such as a female celebrity, an international spy, and a killer. She is assumed to be a figure that may affect the process of the Pacific War and enable the United States to participate in the process of World War II. Of course, from the perspective of military historians, this hypothesis is almost untrue, because Odagiri made it impossible for the Japanese officer in the exercise to know the intelligence of the Japanese attack on Pearl Harbor. In fact, even if the intelligence was already available at the time, the U.S. military would not believe it. , Failed to make accurate judgments in similar information. And isn’t the way of obtaining information particularly “dog-blooded”? Odagiri was simply “silly white sweet”.
Perhaps realizing the impossibility here, the film creator “rounded” a hypothesis that still had loopholes, that is, after receiving the information, Yu Jin made a choice that was beneficial to his home and country, and deliberately concealed this information—— For the intelligence agent, this is simply the greatest punishment-because she believes that only in this way can the United States be forced to devote itself to this war for all mankind. There may also be an implicit meaning here, that is, the United States cannot just watch from the sidelines and at the same time give out the war wealth of other countries. In this war that concerns the destiny of all mankind, it must have a “one or the other” position.
Of course, we can accept this assumption in literary creation. This role is a real “big heroine”, which is completely different from the vulgar routines in various spy war dramas that equate female spies with sociable flowers. This is a character related to Shanghai’s modernity. Simply put, she is a true “modern person” and “confident person”. She has a clear sense of subjectivity, and she realizes that she can’t have nothing to do with this war-it’s very important here. Her complicated international background may be a propellant. For example, she has a broader vision and understanding of the international situation, but more importantly is the subjective “I can” consciousness of “what can I do for this” , And turn it into a strong action force. Such a person is not the emotionally exposed type, because she knows what she is doing and needs to remain calm at all times to achieve her goals.
And this calmness also comes from maturity, from her being a “comer”. For example, in front of the lover/director played by Zhao Youting and the fan/junction female agent played by Huang Xiangli, her calmness comes from compassion and understanding. She basically knows what the other person is thinking, what they want, and what the flaws are. For example, she is insightful to the tricks of the little spy, so she takes advantage of her, but she has no sympathy for her because she is also a victim. The lover/director is weak, but kind after all. Her appearance in front of Zhang Songwen’s ex-husband is a kind of sorry, she can’t save and can do nothing. The relationship between these characters shows that the woman Yu Jin has mature minds and thoughts, as well as all kinds of “big heroines”. Whenever action is needed, her calm, agility and convincing.
Hong Ying Yo Yokomitsu Riichi
In the film, we see Gong Li wearing work clothes for most of the shots. This is actually what Yu Jin wore as a female star in the play “Saturday Novel”. The play in the play is obviously from Yokomitsu’s “Shanghai”, and the protagonists have the same name. The proportion of “Shanghai” in “Lanxin Grand Theater” is actually much higher than Hongying’s “Death of Shanghai”. It really became a “story meeting”.
It is said that Yokomitsu Ryuichi’s writing of “Shanghai” was driven by Akutagawa Ryunosuke. After four years of writing, he not only read a large number of documents, but also lived in Shanghai for a long time. This story is based on the Shanghai yarn factory strike in the May 30th tragedy. The protagonist is Fang Qiulan, the strike organizer, a female communist, and a female yarn factory worker. Gong Li played the role in the “play in play”.
The background of the May 30th Movement was “anti-imperialist”, which took place in the semi-colonial Shanghai, and it was also the awakening of the “modern” sense of independence of the Chinese people. As a Japanese, Yokomitsu’s observation of Shanghai is quite unique. His paintings of Shanghai are not as glamorous as drunken gold fans or the World Exposition, but directly take on the “local atmosphere” of slums, black-hearted factories, and street girls, but they are completely different. In “General Literature”. His investigation of foreign relations in the “concession”, foreigners’ mentality towards Chinese people, and his investigation of the gold trading and cotton yarn trading markets all made the novel “Shanghai” quite important. Gong Li switched back and forth between the strike organizer and the female intelligence agent and the female celebrity, because these roles are inherently related, and can even be said to be a “trinity”. This internal connection also freed the film’s “literary and artistic” form from the suspicion of “fun and mystery” and gave the heroine’s final sacrifice a new possibility for interpretation.Return to Sohu to see more
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