liangzihan

Before watching In the heart of the sun, I have not seen Jiang Wen's film less. Today I want to use this movie to talk about the influence that Jiang Wen has brought to me. This movie is not too late to watch, it is more like keeping a precious to watch. After all, the previous works that I seen of Director Jiang gave me too much shock, so his " Virgin works" must be kept for the final to watch. I have tried to write some film reviews of his works before, but most of them have been holding back for a long time. I don't know how write these film reviews. I only have those key words, exaggerated performances, rich rhythmic images, and black humor? For future works, these are indeed all. But Virgo is different. This is the first work of fresh blood entering the film industry. Talent and spirit are the most abundant time, and ignorant works must be very interesting.

The film is called In heart of the sun, but I think it should be called Jiang Wen's heart of the sun. The background of the story is Beijing during the Cultural Revolution. It is the time when Jiang Wen lived where he grew. The story takes place in the place where he grew up, and the actors are more like his childhood. People in memory. There are a few buddies who are crazy every day, the girls who like, and the "fools" who are lingering in my memory. In the context of the times, the Cultural Revolution was not an era that was shining in the sun, but aside from the background, we returned to the little people. In that era when there were no mobile phones and naive ideas, these children who grew up in the compound brought the audience to a perfect experience from the films. A different experience. In this group of small groups, they all live happily and freely, as if they are isolated from the outside world. They do what they like, have their own dreams, have girls they like, and have countless troubles. At first glance, it seems to be no different from the children nowadays, isn't it just a bunch of kids running wild. Yes, this group of children presents the last sunshine under the political wall for a generation. Sometimes I am quite envious of children of this age, carefree, without mobile phones or computers, without any external fragmented information interference, and it can be regarded as a pure world. Jiang Wen photographed a era when he was a child, and photographed the best aspect that audiovisual language can present to the audience. His audiovisual creative talents made me fascinated by the rhythmic sense of his movies, not only the shock brought by the rhythm of the music, but also the feeling of matching the music and the picture.

In any case, from the memory in the bones of a generation of people in the siege to the memory being processed into art products, his films always bring surprises and inspiration to me.

As a younger sister, of course I cannot empathize with other audiences as younger brothers, or empathize the story as an older sister. But even so, I still want to write this film review as a "person with a sister".

Today we don't talk about styles, skills, just stories. In many parts in this movie, it also made me feel that some things might have happened in my family.

It's sad to see An Ran being forced by her parents to pretend to be disabled, and it also reminds me of my sister. I know very well that in the era when I was born, second children were not allowed. Each family was an only one child. My parents were working in the bank. If they violated the rule and gave birth to the second child, it would mean losing their job and paying fine. Even so, my parents took a risk and gave birth to me. They lost their job, paid a fine, and even almost issued a disability certificate to my sister. I don't know how my sister would be in the mood to accept me at that time, and whether I would take away her love and care. I have thought about this mentality from the perspective of my sister many times, but after all, whenever I wasn't a sister, I still don't know the situation at that time. The environment in which I was born does not exist in the movie what the elder sister "hates" the younger siblings. Later, my parents also told me that my sister welcomed me very much, and it seemed that there was not so much hatred in the movie. Since I was little, I have never quarreled with my sister. This is not just my sister letting me or I letting her. There is really no contradiction. What my sister said ,I will do what she said, never revolt . Looking back at the situation of An Ran and her brother in the movie, I think the root problem is the influence of family education. As mentioned in the previous article, I never quarreled with my sister, because my parents taught me to listen to my sister in everything. So I have also known since I was a child that my existence cannot make my sister feel that she has lost something or something has been taken away by me. As for An Ran, her parents, parents are family judges, they gave her an unfair trial when she was a child. The traditional idea that girls can't do big thing in their life. The education for the younger brother is "You are born, our whole family is yours." The older sister seems to have disappeared here. So don't expect any siblings to have a deep affection, it is not her fault that An Ran abandons her younger brother. If I lived in such a family, I would not think that there was anything wrong with An Ran's idea of giving him away. A blood relationship without emotional accumulation is not much different from a stranger.

In the story, her aunt was using the phrase "elder sister is like mother" to discourage An Ran and let her raise her younger brother. As a child who has been labelled as a small matter by his parents since he was a child, he will naturally not agree. What is the relationship between "he" and her? An Ran will only feel that his brother has taken away more things that belong to her, leaving only the parents' prejudice against her. . But the end result is that An Ran has assumed the responsibility of "the eldest sister is like a mother", which is somewhat far-fetched in my opinion. Was it because of the feelings of childhood that had been battered by the wind and frost from the little brother's sweet words and cute eyes that were moved? Could it be that "the eldest sister is like a mother" to take responsibility? This is more like moral kidnapping. If it's just this touching An Ran, to raise his younger brother, should the screenwriter use his brains anymore. Although film is the art of time, what our want to express can only be short and short, but the turning point for An Ran's change may be clearer.

I think that "the eldest sister is like a mother" is not a sister's obligation, let alone a fixed formula, but a natural family situation. There is no such thing as being responsible for anything. It is because of family affection that naturally I want to be nice to my younger siblings. For example, for my sister and I, my parents didn't order her to take any responsibility, or what benefits she would bring to me if she was kind to me, it was just that she wanted to be nice to me and she loved me very much. I went to school in Beijing since the second grade. My sister lived in Beijing after graduating. After I passed, she didn't need my mother to tell her to take care of me. Every time I go back to my sister's home. Just like going back to my own home, at this time "the eldest sister is like a mother" naturally manifests. My sister treats me like a mother and she loves me.

Therefore, there is no criticism of An Ran in my view of this story, and I sympathize with her very much. Nor does it criticize her family education. The story reflects the concept of family in an era. When the era changes, the views will also change. Every family is different. Maybe some girls are still in the quagmire of moral kidnapping. We can't do anything for them. We can only pray that the new generation of parents will be less prejudiced, just like my parents taught us two sisters, educate the new life now.