Home » To bake the truth and warmth of emotions a little bit

To bake the truth and warmth of emotions a little bit

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Original title: To bake the truth and warmth of emotions a little bit

The unobtrusive use of the smell of fireworks to conceal this elegance and decency is a typical creative thinking of intellectuals—removing pretense, or simply turning pretense into a topic for taste and discussion.

The post-90s director Shao Yihui’s work “Myth of Love” has been well received since its release, and the Douban score has now surpassed its tribute-the Italian director Fellini’s film of the same name released in 1969. It is rare for newcomers to get high scores for filming, and the scores are higher than those of master directors, which is worthy of attention.

The story of “The Myth of Love” is about Lao Bai, who collects rent and teaches painting to make a living. He has a delicate emotional relationship with company employee Miss Li, rich woman Gloria, and ex-wife Beibei. In the living room, in the kitchen, at the dinner table, three women have a play. Lao Bai’s home is a “stage”. They come and go, using Lao Bai’s safe emotional outlet to express their middle-aged love. View.

In fact, the second actor of the film, Lao Bai’s good friend Lao Wu, and Lao Wu’s “Notting Hill” love affair in a foreign country fits the title more closely. When Lao Wu was young, she ran into a Hollywood actress. After the short romance ended, Lao Wu never married. On the night he learned that the Hollywood actress passed away, he died suddenly… After Lao Wu’s funeral, Lao Bai organized a Fellini “Myth of Love” filming meeting. As a memorial meeting for Lao Wu, The story ended in a spit of “unintelligible”.

“Myth of Love” uses a legendary foreign love to set off the middle-aged love affair that took place on the streets of Shanghai, which makes the film full of tension because of the existence of comparison. The communication between Lao Bai and the three women has no “mythological” element at all, and some are all human fireworks and mortal emotions. Do you want to pay Miss Li a pair of expensive designer high heels? Do you want to accept the WeChat red envelope sent by Gloria in the name of “Buy Painting”? Do you want to forgive the ex-wife’s “temporary confusion”? The reason why Lao Bai, who is trapped in emotional chaos, can come out of the “forest” is because although he has the identity of an “artist”, his heart is still simple and ordinary, which is called “handling clear” in Shanghai dialect. This is also the reason why Lao Bai looked sentimental but didn’t feel greasy.

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“The Myth of Love” has an obvious female perspective, but this perspective is gentle, equal, with no lack of kindness and love. Facing Lao Bai, the three women did not look at him with scrutiny eyes. Therefore, the feelings of men and women in the film are almost invisible to the elements of market and care. Humor and tolerance constitute a basic tone. This tone is in sharp contrast with the “gender antagonism” that is sometimes prevalent on social media. The film’s popularity is due in part to the fact that it has re-forced some of the malformed speeches in the social media circle to the corner where they should be, and the truth and warmth of the emotions of the sexes are baked bit by bit like baking bread. Smell it.

The most praised scene of “Myth of Love” is the “Women’s Conference” called “Divorce Bureau” by Lao Bai. The three women came and went at the dinner table and said many lines, such as “private kitchens become big pots of rice”, “leftovers are also robbed by wild cats”, and “a woman is not complete if she is…” The game made the audience laugh, and at the same time expressed the innermost things in the hearts of middle-aged men and women tactfully and implicitly. Many viewers thought of such masterpieces as “Long Live the Wife”, “Eating Men and Women”, and “The Crow and the Sparrow”. A narrative aesthetic that has existed since the era of black and white movies, after experiencing the impact of a long commercial film trend, it seems to be reborn with the help of “The Myth of Love”.

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Light comedy, literary film, love story, if only these, “Love Myth” would not get such a high evaluation. In fact, the value of this movie does not lie in its storyline and character settings, but in the creation of the invisible “line” that connects these elements. This “line” includes: inheriting and carrying forward the structure and narrative of classic movies, penetrating observation and experience of the world and human feelings, compassion and sympathy for the tragedy of human nature, love and care for the living environment, and life The sense of ritual and the pursuit of details, etc. It can be said that this is a film dominated by the creator’s aesthetics and values. Although it is wrapped with a layer of sweet commercial elements, it is essentially a “writer film”, which is why the film reminds people Because of Woody Allen.

Woody Allen shot Paris and Barcelona fascinatingly, and Shao Yihui also shot a different Shanghai. Her lens focused more on the cafes, bakeries, supermarkets, and shoe repair stalls in the streets and lanes of Shanghai to get a glimpse of the leopard. From these small places, you can feel and associate the exquisiteness and elegance of the big city of Shanghai. The film has an overhead shot, which shows the mottled streets and alleys against the backdrop of green leaves. During the walk of the camera, the film’s love for a city overflows everywhere. It is not at all to say that “The Myth of Love” is a love letter to Shanghai. For too much. Reflecting everything in the form of slices, this is a kind of resistance to the mentality of “greed for big and complete” in film creation. The viewing effect brought by “Myth of Love” proves that the film should be “closed” for some shooting, leaving the audience with some imagination. Space is better.

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The elegance of the city and the dignity of the creator are combined in the film. The combination of the two cannot be simply regarded as a kind of elitism. The film indiscriminately uses the smell of fireworks to conceal this elegance and dignity. This is a typical creative thinking of intellectuals-removing pretense, or simply turning pretense into a topic for taste and discussion. The most representative one is that the shoe repairer on the street often points to Lao Bai’s confusion. He sometimes quotes famous works and sometimes borrows famous philosophers to express his views and discoveries sharply. The shoe repairer actually entrusts a kind of idealism of the creator, this role may be considered the incarnation of the screenwriter. (Han Haoyue)

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