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Please review the film "Red Sorghum" Jiu'er
"Red Sorghum" - the indelible red in the sorghum field
For me who was born in the 1980s As far as I'm concerned, this is too old a movie. The reason why I found this movie to watch was by chance. I accidentally saw an interview with Lu Chuan. When the reporter asked him how he got into movies, he mentioned "Red Sorghum" and Jiang Wen and Gong Li. It was this movie that made him fall in love with movies and decided to Dedicated to film career.
I love Lu Chuan’s movies very much, and just "Kekexili" is enough to make me obsessed with him for the rest of my life. His films are very special and seem to be outside of mainstream cinema. So I am particularly concerned about everything he mentioned. Therefore, I found "Red Sorghum", but I didn't deliberately adjust my mentality to watch it. I ate the food I bought in front of the computer. In order not to appear monotonous, I played a movie to entertain.
The movie is a story told through the mouth of a third person, and the scene fades into Gong Li’s young face. It was a simple wedding in that era, and then there were robbers on the way. Jiang Wen and Gong Li met and lived together without any twists and turns. The Chinese people in the movie are all so simple and honest, even the robbers or bandits do not show real evil. Everything is so plain, no one is deliberately describing anyone's bravery, and no one is deliberately describing anyone's evil.
Even if you marry an old man suffering from leprosy, or fall into the clutches of bandits, kill a robber or kill an old man. They were all taken lightly. People of that era had an incomprehensible tenacity towards suffering and a historical indifference to life and even life.
It seems that China at that time was so kind and honest, and everyone was honest and honest. Regardless of the bearers, winemakers, or bandits, they are all so ordinary and content with their duties. We can't talk about vigorous love, nor can we talk about who is stronger, smarter and nobler than the other. Every character in it is not like a movie, but like a simple life happening around you. Such a quiet and peaceful sorghum field was trampled by the wheels of Japan.
Film Review of "Red Sorghum"
The film "Red Sorghum" is adapted from the novel by the writer Mo Yan. The original work "Red Sorghum" has simple and simple language, which brings out the emotions of young farmers of that era. Love, hate, and hatred are vividly expressed, as if what is floating in front of people's eyes is the red sorghum that symbolizes the farmers of that era - daring to love, daring to hate, and perseverance. In the movie, Zhang Yimou showed this unruly spirit to be more mature and at ease. Red sorghum is most represented in the movie. It has witnessed the love of "my" grandparents, witnessed the skinning of Chinese people by the Japanese devils, and witnessed the fight to the death between the brewing workers and the devils. It is not difficult to find that red sorghum actually symbolizes the young farmers on the yellow land of that era. The use of color in the film is superb, and the entire film is rich in red. Red represents joy and happiness in China, but also represents revolution and radicalness. Those patches of eye-catching red - "my" grandma's red cotton-padded jacket, those patches of fluttering red - red sorghum, those patches of red that fill the sky - the sky where the sun sets, those patches of flowing red - sorghum Wine and blood. A large amount of red not only pleases the visual organ itself, but also symbolizes a strong will to life. The most classic passage, "Mother, mother, go to the southwest, the high road, the long journey." "My" father's high-pitched childish voice echoed endlessly. Under the cut moonlight, "my" grandpa held his hand. His hands were walking in the sorghum field. More than 300 villagers folded their arms and legs, and their bodies were left in a mess. The blood irrigated a large area of ??sorghum and soaked the black soil under the sorghum into mud. Deep in the human moon, there is an endless sea of ??blood made of red sorghum. Grandma fell peacefully in a pool of blood, and the sorghum wailed in unison, generous and sad. The sun has come out. The sun has been smeared crimson by the dark red blood. The red sun is burning brightly. The world is red. A life attitude of daring to love, daring to hate, daring to act, daring to do, heartily and to the fullest. Both of them Blended together, it makes people linger and have endless aftertaste. Folk songs and ballads from northern Shaanxi are always present in the film and have become an indispensable plot propeller.
There is also a song that appears many times, "Hey-sister, you go forward boldly, go forward, don't look back. The road to the sky, nine thousand nine hundred, nine thousand nine hundred and nine." In the sorghum field, "I "When the grandfather and grandmother sang, it pushed the love between the hero and heroine in the movie regardless of the obstacles of feudal ethics and education to the climax of the movie. This song is unabashed but full of passion, full of the young people's yearning for free love in this loess land. When the guys were making wine in front of grandma for the first time, they sang the Dionysian Song: "On September 9th, we will brew new wine and good wine. Good wine comes from our hands. After drinking our wine, you can breathe up and down without coughing." The tune was high and full of emotion. Passion, a kind of publicity, show the mellowness of sorghum wine. And when this song was sung for the second time, when it was in memory of Brother Arhat, the song became sad and sad, and revealed a kind of resistance and persistence, indicating that the men were going to avenge him and let go. Fight. In the film, when the God of Bacchus is toasted on the ninth day of September, everyone stands together in front of the God of Bacchus, under the background of music created by suona, which clearly expresses the pride and wildness of farmers on the loess land; and the last "my" father's song in the form of Xintianyou is more It pushes the movie to its climax. "Red Sorghum" may not be Zhang Yimou's best film, but it is the most heroic and vital film. The use of red sorghum in the movie is the best expression of vitality. "Red Sorghum" shines with an indelible light in the history of Chinese movies!
Please write a review of the movie "Red Sorghum", about 800 words
"Red Sorghum": the worship of primitive vitality
Fan Daming
< p>"I am telling you about the magical things that happened in the sorghum field in our hometown."——The first narration at the beginning of the film "Red Sorghum"
My overall impression of "Red Sorghum" is that it fully expresses the author's admiration for primitive vitality. This is a film with Zhang Yimou's strong subjective ideas and should be regarded as a more typical auteur film.
In "Red Sorghum", Zhang Yimou's irresistible praise and praise of the original will and vitality can be said to have reached an unparalleled extreme, reaching the point where it is almost the essence of perfection. This is a masterpiece. It was a state of worship that fell to the ground.
The first is the worship of the divine power of sex. In the scene of "Bumping the Sedan", from a superficial point of view, it is a playful prank played by many rough and strong men carrying the sedan chair on a bride in a red dress and a red hijab; but from a deeper point of view, it is a few shirtless men The strong man spontaneously vents his latent sexual joy and desire when faced with the charm of his bride Jiuer. It is also a spontaneous outburst of sadness and resentment towards Jiuer who is helpless when faced with an unreasonable and inhumane union between the sexes. The only divine power that could bring this singing and dancing disco to an abrupt end from the peak of madness was none other than a few choked sobs from Jiu'er in the sedan. At this changing point in mood and rhythm, the director reveals and illuminates the beautiful inner human nature of these rough and strong men, which is the finishing touch that first touches people's hearts at the beginning of the film. The emotional gap caused by this pause in rhythm confirms the truly sacred position that Jiu'er actually occupies in the hearts of the wild men, and is a clear proof of the film's worship of the divine power of sex. Among the group of strong men carrying the sedan chair, only "my grandfather" Yu Zhan'ao, with his stronger willpower driven by the divine power of sex, dared to put his inner turmoil and desires into external practical actions one by one - -Compared with other strong men, Yu Zhan'ao is indeed superior, and he is truly the leader - with the beautiful eyes that Jiu'er once gave him, he ended up killing his husband, robbing his wife, and even having sex in the sorghum field one after another. The wild cooperation has become a series of good things that are no longer about violence and evil, but a package of "benevolent" things that are all logical. The "benevolence" here cannot be based on the narrow laws of law, but must be found from the broader natural and primitive laws of life - the benign reproduction and development of species, and the survival of the fittest; and the "beauty" here , naturally the beauty of the film has been artistically selected and rendered.
When the screen shows a hazy close-up shot of Jiu'er falling to the ground obsessively, Yu Zhan'ao kneels on the fallen sorghum clearing in front of Jiu'er in the shape of a red "big", overlooking the distant view and the red sorghum in the backlight The dynamic empty shots of shadowy figures swaying in the beautiful sun and wind can be said to have pushed the film's worship of primitive vitality to the high point of artistic beauty in the scenes and the blending of scenes - but looking back at the film, Zhang Yimou should really be here Every step of the way, the article should be more dense, so that this "match made in heaven, beauty made in the earth" love scene on the red sorghum field can reach a more sacred state like a colorful movement!
The second is the worship of the divine power of death. In "Red Sorghum", Zhang Yimou wants to show the picture of our life: these Shibalipo people, they love men and women, live freely and happily; but they will also rise up for the hatred of their clan and the country's humiliation. Fight, avenge, even if you die for it - if you die, you must die freely and happily! The two poles of life and death, love and hate, are opposite and complementary to each other. Indeed, these people died as fast as they wanted. Li Datou, the road robber pretending to be "Tu Sanpao", etc. seemed to die so easily, so easily and so silently. Naturally, this does not refer to death in these negative senses. And those deaths with positive significance, those who sacrificed their lives to resist foreign invasion - whether Uncle Arhat, Jiu'er or even "Tu San Pao" died under the butcher's knife and artillery fire of the Japanese invaders, they all became heroic sacrifices. , A shocking death! For this reason, Zhang Yimou did not hesitate to make people undergo bloody sensory stimulation in the film, and intensified the contrast between the slaughter of cattle and the slaughter of humans. In this regard, we should not regard it as an exegetical illustration of the original conceptual meaning of the word "sacrifice" on the surface, but as an internal metaphor that the sacrifice of cattle and the sacrifice of humans are not the same. The ending of the film makes the bloodthirsty Japanese invaders understand: cattle are slaughtered and sacrificed in silence, while humans make their own sacrifices in the outbreak of resistance and will perish together with the slaughterers. This performance ultimately became proof of the divine power over death.
The third is the worship of the divine power of wine. The quality of the fine sorghum wine, which is euphemistically called "Shibali Red", received the highest praise in the "Wine Sacrifice Song" that was sung twice: "Drink our wine, it nourishes yin and strengthens yang, and your mouth no longer smells bad." After drinking this wine, I will not kowtow before the emperor." And it was under the power of the wine that Yu Zhan'ao was drunk that he confessed his affair with Jiu'er in the sorghum field and expressed it in Shibali What has been said fondly among Po people since ancient times is that the magical power of red sorghum wine is the unruly power of Shibalipo people; the character of red sorghum wine is the free-spirited character of Shibalipo people. 147, 369: Jiu'er, the only woman in Shibalipo, wasn't it the moment she took over Shibalipo Winery as the shopkeeper that she announced herself to the winery's clerks for the first time? Is his nickname "Jiuer"? The reason why the power and character of wine and people are the same is because they were both born in red sorghum fields. People in Shibalipo use wine as their atmosphere, and people in Shibalipo use wine as their support. Wine spreads among the people in Shibalipo, and wine becomes the catalyst for people in Shibalipo to regulate and strengthen interpersonal relationships. To put it bluntly, the film’s worship of the divine power of wine is also its worship of the divine power of the Shibalipo people.
"Red Sorghum" uses the worship of sex, death and the divine power of wine to express the most basic spiritual source of human nature - the original desire for life, will, which is the essential power of life. Worship; it has been fully demonstrated in the film with all its destructiveness and wantonness, making the film uniquely "traveling in a realm of carefree debauchery and indulgence in change"1. This is an unprecedented attempt and exploration in today's Chinese films. I think it is precisely on this point that the film has won great acclaim and unanimous applause in the international film community; it cannot be summed up by the phrase "the more national it is, the more cosmopolitan it is."
Requesting an 800-word film review of "Red Sorghum". How to analyze the audio-visual and theme of the film? A spiritual struggle as red as fire
——A brief analysis of the audio-visual style of "Red Sorghum"
The movie "Red Sorghum" was adapted from Mo Yan's novel of the same name by Zhang Yimou, and the film continues Director Zhang Yimou places great emphasis on color, emphasis on the depiction of the times and other artistic styles. The red tone is the soul of this film. The ups and downs and swaying red sorghum embody the spirit of resistance of the local people and even the people of China. The director used characters such as Jiu'er and Yu Zhan'ao to eulogize the simple but resistant working people in the northwest in the 1930s, and extended the passionate sentiments of contemporary people about this.
This is his vivid manifestation of the story, and it is also a tribute to the great spirit of resistance, ranging from the constraints of feudal ethics to the national invasion.
The fiery red tone penetrates deep into the soul of the film. The director has stuck to the theme of resistance from the beginning. From the very beginning of the picture, Jiu'er appears in a rich red color. The red color at this moment is not only the basic foil for the wedding. It can be seen from the close-up of Jiuer's frustrated and unwilling face. It is also the foil for Jiuer's resisting inner state of mind at this moment. "You can't cry while sitting in the sedan chair. There will be no reward for crying in the sedan chair. You can't lift the hijab. If you lift the hijab, trouble will happen." However, Jiu'er lifted the hijab and cried in the sedan chair. This was her response to her parents' order to be a matchmaker. Fight, and red is the best interpretation of her heart at this moment. Until the end of the film, the expression of red becomes more vivid and dazzling. When Jiu'er, Yu Zhan'ao and several brothers drank sorghum wine in the winery at night to pay homage to the heroic Arhat brother, the blazing fireworks around them filled the whole room with red enthusiasm, reflecting the burning love for Japan in their hearts here and now. The raging flames of human struggle.
The connotation of Red Sorghum interprets the character’s true monologue. Red Sorghum is the title of the film, not only because the people's lives in the story always revolve around red sorghum, but also because sorghum represents the simple working people at that time; the word "red" is not just because the color of sorghum is red. , especially because it represents the simple working people who also have the spirit of struggle conveyed by red. From a small perspective, Yu Zhan'ao and other sedan bearers encountered robbers in the sorghum field on their way to see Jiu'er off. Faced with the arrogant threats of the robbers, they made a small compromise and gave money to protect the overall situation, but when The robbers took advantage of Jiu'er, so the brothers led by Yu Zhan'ao rose up to resist and defeated the robbers. This small episode echoes the larger aspect that follows. In the same sorghum field, in the climax of the ending, in the face of the Japanese oppression of the local people and Jiuer's heroic sacrifice, a bloody war is about to break out in this sorghum field. In the process, the director has a lot of insights into the sorghum field. A close-up of the camera shows a bloody and heroic struggle complementingly displayed among the fiery red sorghum, which complementarily places the connotation of red sorghum on the fighting people.
The thick ink rendering of the artistic conception gives the picture room for imagination. There are a lot of freehand scenes in the film, which are often presented in distant views, and there is no dialogue between characters...
This film review article is from a high-scoring student and classmate of Pailesi Educational Directing Major. It can be used as a study reference. The complete article is included in the book "Collection of High-Scoring Film Criticism Model Essays".
"Collection of High-Scoring Film Review Samples"
How to evaluate the TV series "Red Sorghum"?
Whether it is from the ratings statistics or the comments from viewers and netizens, the TV series "Red Sorghum" received a very high response on the first day of its broadcast, and it can be said to be the best among domestic dramas in recent times. Compared with the movie version of "Red Sorghum" in the 1980s, the TV series version has undergone major changes in terms of director, actors, and scene layout.
In terms of the lineup, director Zheng Xiaolong is a famous director in mainland China. His representative works include "Four Generations Under One Roof", "The Story of the Editorial Office", "Golden Wedding", etc. In 2011, he directed and released the work "The Legend of Zhen", which brought him to the pinnacle of his career. He can be said to be a leader in the field of Chinese TV drama directors. The TV dramas he directed have penetrated into the hearts of audiences of all ages. The female lead, the famous actor Zhou Xun, plays the 19-year-old "Jiu'er" at the age of 40, which has become a highlight of the play. A southern woman plays a northern woman, seemingly weak but revealing heroic and righteousness. In the play, In the movie, Zhou Xun looks exactly like a northern woman, with her "Brother Xun" temperament fully displayed. Zhu Yawen, the male lead, became famous for his straightforward, tough and manly image in "Crossing Guandong". The role of "Yu Zhan'ao" in the play this time fully demonstrates the many characteristics of a Shandong man.
The "red sorghum" culture of the 1980s continues to this day, and the "sorghum fans" at that time have now entered middle-aged and elderly people. The emergence of the TV series "Red Sorghum" has reawakened the memories of old "Sorghum fans". At the same time, a large number of new "Sorghum fans" have joined it. It is not an exaggeration to say that three generations of old, middle and young people watch "Red Sorghum" together.
As the original author and general consultant of the play, Mr. Mo Yan, the Nobel Prize winner in literature, once said in public: "It is still the same basic mentality as in the past, and the attention is higher. Because after all, it is the past It has been decades. After all, "Red Sorghum" is also such a famous work, and the previous movie "Red Sorghum" stands in front of it as a monument.
He said that he had read the synopsis of the script and really wanted to see this TV series. His expectations were very high. He wanted to see how Zhou Xun performed the character of Jiuer, and also wanted to see how Zhu Yawen and other young actors created a character that was far removed from their era. Distant history. "At the same time, Mr. Mo Yan also shed tears after watching the clips of the TV series "Red Sorghum".
The real core value of a good drama does not lie in the huge investment, nor in the beautiful and gorgeous pictures. , the more important value lies in whether the play can directly touch people's hearts and whether it can evoke everyone's remembrance and memories of the past through a play. No matter what, the shaping of "people" is the most important thing in a good play. Heavy, and the TV series "Red Sorghum" is even more deeply rooted in the performance of "people". The characteristics of each character are so vividly expressed. What many "Sorghum fans" like is this sense of daring to love, daring to hate, and winning. The movie "Red Sorghum" tells the story of "my grandfather" who rescued the trapped people in the primitive Gaomi Township in Northeast China. "My grandma" arranged a marriage, mistakenly produced Shibalihong, which made the winery rich, and finally witnessed the "sunset red" during the spontaneously organized anti-Japanese movement.
This is a story written by Mo Yan. It was adapted from "Red Sorghum" and "Sorghum Wine". At that time, Mo Yan was not a Nobel Prize winner, but he just wanted to use his own words to describe this lively and fragrant place, rolling with blood and flesh, burning with spirit and sex. It's just Northeast Township. 30 years ago, various directors, writers, and actors were still in their infancy, but they were able to go global. It can be seen that not only everyone made it possible, but "Red Sorghum" also made everyone possible.
The most impressive thing about the whole film is undoubtedly the numerous "reds": the red of sorghum, the red of the sunset, the red of blood, the red of wine and the red of clothing. The color red runs through the whole film, or as a symbol of sexual desire. Either it symbolizes the bloody nature of the working people, or it represents the struggle of the Chinese people for national survival. The use of color to tell stories and express characters and emotions has always been the method that the National Master is good at, as well as the world that turned completely red during the final solar eclipse. .
Chinese people seem to worship red even more, because it is the color of blood, the same blood flowing in the bodies of billions of people. The appearance of this bright color is more powerful. It expresses the enthusiasm and boldness of the people of northern Shaanxi and presents the upward mental state of Chinese farmers.
Zhang Yimou's skills and inspiration in the use of color are particularly worth studying for a long time. The Chinese rural atmosphere, the realistic details hide the touching romance, and the common human emotions move everyone regardless of race and national boundaries.
The characters in the film are full and vivid, "my grandfather". In his character, he has the unique boldness of northerners. He is afraid that his wife will be bullied, so he risks his own life to fight with three guns. After drinking, he points at "my grandma" in public to declare his sovereignty.
"My grandma" is gentle. Virtuous, hard-working and willing to endure hardships, she managed the winery single-handedly, but at the same time she was strong and resolute. She was tortured in the sedan chair but did not say a word. After arguing with her father to no avail, she rode away alone. Uncle Arhat was killed by the Japanese. After that, she decisively decided to avenge Uncle Arhat, without a trace of fear in her eyes. She has the typical temperament of traditional Chinese women and new women, and is an ideal rural woman.
In "Red Sorghum", it expresses an almost primitive worship of sex, wine, and death. The theme of love without a word of love shows the Chinese people's restrained view of love and the personal concern for the survival of the country. The sense of responsibility further sublimated the theme of the entire film. At that time, red sorghum became the spiritual totem of the Chinese nation standing tall in the world.