As Jin Shengtan said, the characters in Water Margin are three-dimensional: Li Hongqin (Zhao Wei) is ignorant and helpless, and tries his best to fight for his children; Han Dezhong (Zhang Yi) repents the past and unites people to do good; JODY (Hao Lei) repents and rebuilds himself in the process of finding children; Tian Wenjun (Bo Huang) is eager to find a son, and he hopes to go home after a bumpy journey. Here, the author is talking about the supporting role Gao Xia (David). The director set Gao Xia in the fast-paced Shenzhen background, and had deep sympathy and hope for him. In the film, the director tries to create an all-round, three-dimensional image of a grass-roots nobody from work to life and from rejection to acceptance for the audience.
The director's portrayal of Gao Xia is from work to life, not a single latitude rendering. He works in a law firm, at the bottom of the unit. In order to gain a firm foothold in the company, he offered coffee to the participants, and got rid of Li Hongqin's entanglement for Zhu Ge. He flatter himself, cheated for personal gain, and was finally fired. At the initial stage, he refused to come to Shenzhen to look for his son, but looked for Li Hongqin, who could not afford the high lawyer fees. Under the guidance of the director's subjectivity, the audience thinks that he is a philistine, full of copper smell, completely devoid of spiritual truth, goodness and beauty. He was squeezed by his work and became a rusty old machine, which was difficult to operate and disliked by his colleagues.
Just as the audience sneered at him, the director turned and chose to make Gao Xia three-dimensional, and the audience saw Gao Xia in life. First of all, the director set up a considerate act for Gao Xia to enlighten others. "Zhang Jie, don't be nervous. Give her medicine, and she will be fine. Please relax. " With the help of this revelation, the director shifts the narrative space to Gao Xia's family: he has an unconscious old mother and a guilty sister. Then contact him to eat instant noodles to fill his stomach and squeeze the bus to grab time. The audience learned that he was in financial difficulties.
At home, he used a fan to accompany his old mother to sleep and asked a nanny to take care of her food, clothing, housing and transportation. Alone, he struggled helplessly to support his family. Through the multi-dimensional depiction from career to family, the audience can't help but feel sympathy for him if they think of the tragic end of his becoming a scapegoat after practicing favoritism and malpractice. When the director portrays the characters, he adopts the method of promoting first and then restraining, which is also the genius of the director in portraying the characters. Schiller said: "Anyone, even the worst person, will more or less reflect the shadow of God. Indeed, Gao Xia is selfish, and forgets justice at the expense of profit. He kneels and suckles, fighting against fate. He has the goodness of God and the insidiousness of hell. God coexists with hell, which is the truest state of a person. Gao Daquan is not a model drama, but simple good and evil, truth and nature.
The author thinks that Gao Xia in the film is a dynamic process, and he constantly changes with the development of the plot. This is the "round figure" put forward by Foster in "Aspects of the Novel": "If there is one more factor in the flat figure, the arc I started to draw will tend to be round". The change of Gao Xia in the film is an interpretation of "round characters".
At first, he refused to treat Li Hongqin. Helpless Li Hongqin went to a strange Shenzhen to find a child, and met Gao Xia who was sent to deal with her. "Cover your nose with a handkerchief", which shows that Gao Xia looked down on her at first. In fact, at that time, Gao Xia not only despised Li Hongqin, but also despised himself. Maybe he didn't realize it. Naturally, he parted ways with Li Hongqin, who was commanding and overlooking Li Hongqin. Li Hongqin is the wife of a helpless trafficker. After her husband died, Fang was her only spiritual pillar. However, fate likes to play jokes on her, and Jigang's "re-selling" broke her original quiet life. Li Hongqin is very much like Gao Xia, who brings home the bacon alone. She has to pay extra nanny salary every month, take care of her elderly and unconscious mother, and social pressure from her guilty sister, but she has only a meager salary. Li Hongqin was kidnapped by morality, and Gao Xia was kidnapped by life. Essentially, the two are the same. The difference is that Li Hongqin realized the status quo and constantly changed it, while Gao Xia still kept his illusory self-esteem and tried to cover it up.
The director set up a soul mate for Gao Xia, and Li Hongqin was saving him instead of helping himself. Under the influence of Li Hongqin, he completed the spiritual reconstruction and found the lost soul forced by life. At first, he tried to win a place in his career, please others and bully others. Later, he met Li Hongqin. Li Hongqin's firm defense of his goals, positive attitude towards life and desperate resistance to fate all infected him. Finally, he found himself. When People Crushed Li Hongqin was broadcast, the audience saw Gao Xia's protection for her. The phrase "Have you thought about her?" It's not only a cry for Li Hongqin, but also an accusation against yourself. At this time, Li Hongqin became the scapegoat of countless traffickers, and the parents who lost their children broke out in the pain of losing their children. The target of public criticism is Li Hongqin. Gao Xia, on the other hand, became the scapegoat of his superiors because of favoritism and malpractice, and eventually lost his job to support his family. When the audience saw two people, they were like sparks on the grass, trying to hold together to express their dissatisfaction. Mentally, she helped him. Materially, he helped her.
In the film, Gao Xia redeems himself during his contact with Li Hongqin: "If that's what you said, say you don't know". When Gao Xia really accepted Li Hongqin, he also accepted himself in reality. The director showed his attitude and position in an artistic way, and conveyed humanistic care to the society with the help of this change in Gao Xia: everyone should have a sense of "thinking from the other side's point of view", and in this process, you must redeem yourself, otherwise you will become the next Han Dezhong.
The director is lucky because he can artistically integrate his subjective feelings into the film. Similarly, a reasonable plot setting is like a magician, which can bring the audience an aesthetic experience beyond the film. The author thinks that there are two plot settings in the film that are most touching.
"Falling into a deep sadness and hidden lament, silence here is better than sound", which is the "blank space" in the film. It can often reach the height that lines can't reach, making the plot extremely tense and infectious. What I want to talk about here is JODY's reaction at the Xunzi meeting in Wan Li.
"Let's welcome our new family, JODY, to share with us", and switch to JODY. Her face is yellow, her eyes are empty, she is listless and weak. This is her state at that time. All the audience expect her to talk to her family about her loneliness, helplessness and sadness. "Thank you all". After she was quiet for a long time, she expressed her gratitude to her "family". In this scene, JODY's reaction may not meet the audience's expectations, but it is indeed the most real state. An adult will not vent her sadness and helplessness to others, or she is not ready to express her feelings. Although the plot setting at the end of this "O Henry" novel is unexpected, it is also reasonable. JODY's silent response is a kind of "blank" treatment in film and television plot, which overcomes the limitation of space and brings a kind of mother's pain beyond time. She hopes that time can return to the afternoon when her son has not been abducted, but now she is only helpless and helpless about time.
"Ok, thank you", Han Dezhong's words haven't landed yet, "In fact, I especially want to say to you", JODY's words were picked up, and her eyes were full of tears in the camera. She began to pour out her true thoughts to her family at the Wan Li child-searching conference. In her opinion, she is most responsible for the loss of her son. Reminiscent of the story of her screaming for her son from her ex-husband that afternoon, the audience learned that she had been hiding her regrets. Although the reaction just now was calm on the surface, her heart was already choppy. No background music, no fancy shots, only simple fake records. It was not until she burst into tears that the background music began to play. At this time, music is also JODY's apology to his son, ex-husband and former self. This special "blank" treatment gives full play to JODY's emotion, eliminates the power of her usual disguise, and only has the truest remorse and remorse, which makes the scene extremely tense. The audience at the moment is like Pumbaa in the afternoon. What the audience heard was not Pumbaa, but her mother's remorse for her negligence, which was "sad and sad".
Silence is better than voice, JODY's "thank you" after a short silence, and Han Dezhong's sincere repentance after he finished. There is no direct shouting of lines, no deliberate rendering of music. The audience learned of JODY's contradictory state, which was both self-reproach and pain, self-reproach and helplessness. This plot design is like a mirror, which reflects JODY's real feelings as a wife and mother, making her more grounded, more real and more in line with the audience's aesthetic expectations, and easily catching the audience's eyes and attracting their attention.
The director can set the coincidence of the plot in many ways to convey his understanding of the film. The author believes that the director of the film has a plot setting, which is unintentional but can be sensational, and its effect is not worse than that of The Battle of Anhui Children.
In the summer of 2009, in Shenzhen. Tian Wenjun is racing against time, racing against time at the train station, looking for cars one by one, eager to have mind reading and see through the ulterior motives of traffickers; I can't wait to have a clairvoyance and see where my son is. It's time for the train to leave. On the train, beside the tracks, Tian Wenjun watched the train go away alone. He vaguely felt that his son Pumbaa was on the train, but he could only watch the train go away until it disappeared, and there was nothing he could do. After a year, in the summer of 20 10, in Hebei. He appeared at the railway station disheveled and exhausted. Regardless of his ex-wife's objection, even if the other party sends a composite photo, he will persist in looking for hope and feel that he can be worthy of his son and ex-wife. "This hope is really the same as rice. Not if you don't eat. " Tian Wenjun supported himself with hope and continued to run down. A year ago, a year later, different railway stations, the same expectation. He took the life-saving money and ran like crazy through the crowd.
At the moment, the contrast and connection between Tian Wenjun and traffickers, life-saving money and daggers, sons and tracks, things and characters have virtually deepened the contradiction of the plot. Life-saving money is hope, and there is hope for reunion; Dagger is a trafficker, and it hurts to have a trafficker; The son is the railroad track. If you catch the tracks, you can catch the kidnapped son. If the life-saving money is gone, the dagger is lost and tripped over the railroad track, it is a "complete kidnapping" of the son, and it is even more hopeless for the son to go home. It is precisely because of this interest that Tian Wenjun runs madly on the tracks. He values money more than his own life, and jumps into the river to protect the safety of money.
Over 60, there are also conflicting roles in the plot, which is also an eagerness to find children and a state of racing against time. The director's plot settings are very similar, and similarity will resonate. Once the audience resonates, it will be easier for them to get into the play and understand Tian Wenjun's anxiety about his son's return. A father will want to be a meal and never give up any chance to find his son. Losing everything and selling everything just for the sake of his son makes the film more attractive. Similarly, the director's plot also paved the way for Tian Wenjun to cry when he found his son. Stanislavski's performance system combines the audience with the plot. When anyone encounters great changes and is extremely happy, some people will be grateful and vent their emotions. He regrets that he went through a difficult time, and he can get rid of it. Fortunately, he can make up for his mistakes. On the one hand, this plot setting connects the state a year ago and paves the way for the development of the subsequent plot of the film.
It is worth noting that the director deliberately compressed the scene of Tian Wenjun jumping into the river in the summer of 20 10. The play itself is very explosive, and it is a true expression of a father protecting his son, but the director only condensed it in three minutes, and then JODY saw the daily life of a psychologist. The author thinks that the director intends to externalize it into his normal life, and JODY's sentence "My ex-husband needs help more" secretly emphasizes the hardships of her ex-husband's daily life and the bumpy road to finding a son. On the one hand, this kind of plot processing can show the difficulties of parents who have lost their children and appeal to more people to pay attention to the abduction incident. On the other hand, it leaves room for the following "the battle to seize the children in central Anhui" and "the people crush Li Hongqin", so as not to make the film unreal because of too many conflicts and dramas.
Honey, this movie has many highlights. The author thinks that its three-dimensional characters and exquisite plot settings just reflect the artistry of the film, and its adaptation of the real kidnapping incident is full of humanity, which has aroused widespread concern and heated discussion in society. This invisible call is quite powerful: please think from the other side's point of view and don't be the next Han Dezhong.