tearjerker director

Chapter 1201 "Warm Spring" meets "Hiding Into the Dust and Smoke"

Rural-themed movies are not easy to shoot. In fact, the reason is very simple, because 1 people have [-] thoughts in their hearts.

Everyone's cognition is different, whether it's "Into the Dust and Smoke" or "Warm Spring", some people think that it's just the countryside in their imagination, but the same people think that this is completely blind Random shooting, this is completely different from the countryside they imagined or saw.

So, many such as: "I found a problem when I was indulging in self-movement. The domestic audiences of literary films about workers and peasants are intellectuals and the middle class. Workers and peasants don't watch such things. The images of workers and peasants are on the screen. accept our gaze, yet we have only fantasies about the workers and peasants and their lives, and so there is a certain shame that disturbs me."

"I don't want to watch rural movies anymore, when rural life was part of my childhood. Every time I watch rural movies, I just appreciate the director's condescending, contrived and fake."

"That's it? It's bullying that most domestic audiences haven't seen really good rural movies. To be honest, these two movies are okay, but the script is extremely fake. The characters are pure tool people, without character arcs. In "Warm Spring", the world is completely beautified, so let's not mention it."

"Under the background of arranged marriages, the fate of women is not the theme. Even the existence of female characters is to set off and shape a warm man who is intimately dependent on the land. The only thing that feels touched is the sudden anger of a man during a farm work, and the relationship with a woman The shivering body standing next to the donkey. Demolition, urbanization, forced separation from the land under the power relationship, many points that can be told are shallowly hidden in the dust and smoke.”

There are many similar comments.

Regarding this point, Zhou Qingquan also interpreted it in the column of "Film Weekly".

"The two films "Warm Spring" and "Into the Dust and Smoke" were both produced by Li Yi, which is hard for many people to imagine.

After all, as we all know, Li Yi’s origin is not directly related to the countryside, but to the farmers. But as far as I know, director Li Yi was interviewed when he was directing "Paradise Cinema". Lived there for a short time.

Of course, even if there is no such experience, I also think that this does not prevent him from making rural works.

Let’s talk about these two films. The theme of "Warm Spring" can actually be seen from the title of the film. This film mainly expresses the goodness of human nature. It can be said that there is no "bad" person in the film. Everyone has their own shining points, fat aunt, grandma root, Ergou, etc., etc.

Such an environment has created this warm and touching film.

We might as well change the environment. If Xiaohua is in an environment like "Into the Dust and Smoke", what will her life trajectory be like?
Will Xiaohua become Cao Guiying?

In "Hidden Into the Dust and Smoke", it is the exact opposite of "Warm Spring". The indifference of human nature in it is outrageous. It can be said that there seems to be no "good person" in the true sense except Ma Youtie and Cao Guiying. We might as well imagine For a moment, if Ma Youtie and Cao Guiying lived in a village like in "Warm Spring", would their fate be completely different?

Unfortunately, nothing if.

I have seen a lot of film critics saying that this is a peasant film for the middle class to "watch", and I admit this, but if they only see the superficial narrative of the film, it is far from enough, otherwise, they will be overwhelmed by the film's "emotional" It's just a feel-good pity that doesn't translate into anything practical.

Let's talk about "Hiding Into the Dust" first. Ma Youtie is diligent and honest, hardworking, but in middle age, he is still being ordered by the third brother, and he is a cow and a horse. Later, the nephew is about to get married, and the third brother just arranges him a school. Marriage, let them go out alone (find a reason to drive him out).Cao Guiying has been living in the shed of her elder brother's house. She was beaten and disabled when she was a child.They don't have the right to decide their own destiny, and the two bottommost marginalized people live together like this.

They are the people who have been insulted, damaged and bullied, and they are the bottom of the bottom of rural society.One is getting older and his working ability is deteriorating, and the other is physically disabled and has lost his fertility.Outsiders don't care whether they look good or bad about their marriage, they are ignored, and outsiders let them fend for themselves.

But they just bloomed in the misery.They are all kind people, and quickly dispelled their hostility towards each other. Ma Youtie would not bully Cao Guiying because of her incontinence, but bought her a coat to cover her pants, and could not bear her being ridiculed by the villagers; they accompanied each other, Caring for each other, Cao Guiying waited for Ma Youtie to return in the cold night, and the kettle in his arms was heated again and again; they worked hard to build a life together, planting wheat, hatching eggs, protecting mud bricks and building houses in the heavy rain; Romantic moments that belong exclusively to them, such as the shining light shining on Cao Guiying’s face from the chicken coop, they printed plum blossoms on their respective arms with wheat grains, and they slept on the roof in summer nights, and the horses were tied with iron belts With Cao Guiying...

If the bad luck does not come suddenly, then this is completely the love myth of the Northwest rural version. The love grown under extreme poverty is extremely sincere and pure!
The accident came unexpectedly, and the sick Cao Guiying brought food to Ma Youtie, but she fainted and fell into the ditch. It was too late by the time Ma Youtie went to rescue him.After sending Cao Guiying away, the villagers comforted Ma Youtie, "Don't be too sad, you have a house and food now, and you can live well by yourself."

Before meeting Cao Guiying, Ma Youtie could live like a cow or a donkey, but when he met Cao Guiying, when he experienced the feeling of loving and being loved, this kind of life like a beast became unbearable.

At the end of the movie, Ma Youtie let the donkey go, sold the grain, and paid back what he owed to the villagers... Looking at the portrait of Cao Guiying, he committed suicide by taking pesticide.This is the ending implied by the movie. Although the director did not explain the real ending of Ma Youtie, I believe everyone will understand that he has already left with Cao Guiying.The two most fringe low-level characters interpret the love myth of life and death.

But in fact, "Into the Dust and Smoke" is more like a bitter drama.In fact, at many moments in the movie, the more essential source of misfortune is pointed out: Cao Guiying was beaten to disability and lost her fertility, the miserable situation of rural women, especially the "old, weak, sick, disabled and crazy" women; Cao Guiying was "drawn blood" , whether it is concrete or metaphorical; the peasants who were "upstairs" lost their land, roots, and lifelines... But these are not the main narrative of the film, they are supplemented by quite scattered plots.Just like there are 1 Cao Guiying in the countryside, maybe only one horse has iron. The movie presents this "one in a million" beautiful love. It gives two insulted people good hope, and then destroys it, stimulating The tear ducts of the audience...

But I don't want to criticize Director Li Yi at all. He has expressed it on the largest scale possible, just like the ending of Ma Youtie, which can be said to be open.

Whether Ma Youtie is dead or not does not actually affect the ending of this film.

"

(End of this chapter)