Comment on Qiu Jin's Five Hundred Words. .

Sincere words in autumn should not be canaries trapped in cages, and bold children should remember the game. "Autumn wind and autumn rain worry people" is an ancient chivalrous inscription. Ask yourself, if it were you, would you dare? -abandon your husband and children to join the revolution and face the test of life and death every moment! Can you do it? -for everyone, give up the small family. Give up your luxurious, warm and comfortable life for the sake of longer-term and more people's happiness! Between the affirmative and negative answers, we can know whether we are loyal to the righteousness or narrow love. Of all the things I saw yesterday, it shocked me the most. From them, I saw courage, justice and the most magnificent love in the world. Of course, I also saw their fragility. They are scholars and have the courage to save the country. Their brave actions have shocked all evil people and all evil trends. But after all, he is a scholar, and he has no strength to fight, no! It is force! Because the strength of their struggle can shake mountains and rivers. No wonder Shanyin Li county magistrate who swore not to kill Boren hanged himself. "Autumn wind and autumn rain make people sad" left the world with scattered mountains and rivers and a piece of autumn scenery. In this "stormy" weather, can people with boiling blood worry about a large group of ugly faces shouting "Beautiful Spring"? Can people who are suffering from wind and rain not worry? (to be continued)-According to the wind and rain

The voice behind-Qiu Jin and Wang Tingjun

Author: Wu Cairen

Of all the photos handed down from ancient times, the one with a dagger is the most common. Her appearance was originally dignified and beautiful, but it was hard to see for a long time because of the air conditioning and blade in her brow.

"I don't hesitate to spend a lot of money to buy a treasure knife, but I can't imagine a woman writing such a heroic poem." But she is not an ordinary woman. She is Qiu Jin, the heroine of Jianhu.

She once had a very feminine name. Qiu Jin, formerly known as Qiuboudoir Jin, was called Xuanqing. These Chinese characters are warm and delicate, and they are as pleasant to read as the names of heroines in Qiong Yao's novels. Only later, she made up her mind to be "better than men" ... I hope men give in ... and do what men can't do ",so she changed her name to Qiu Jin, theNo. Xiong Jing.

This is an unforgettable woman. She first read her poems and deeds in middle school textbooks. I thought she must have been bullied by feudal families and men, so I stood up and resisted.

Sometimes, the true face of history does not come from the imagination of most people. This gap is worth pondering.

She came from an official family and was gifted since childhood. "When I was young, I studied with my brothers and sisters at home. I am talented. I read it once ... and then I gradually learned needlework, especially embroidery. " "Reading is all about righteousness, and I am good at words, work in poetry and work in beauty."

"A bay of flowing water is so heartless that it doesn't send sorrow to send red flowers", "The smoke is light in the stranger's lips, and the fragrance warms the swallow's wings" and "the grass outside the window is like smoke, and the secluded boudoir is lazy and inexpensive"-these are her early poems. It's nothing more than some sentences full of love and hate. Although she loved riding and fencing since childhood, it can be seen from these poems that she was also sentimental and had a delicate and touching heart when she was a girl.

When she got married, Qiu Jin was betrothed by her parents to Wang Tingjun, the son of a rich gentleman. She married a husband who was four years younger than her, graduated from Yuelu Academy, and was handsome and gentle. According to records, he is "clean and white, slim, fair-faced, and has the reputation of being a handsome boy".

Although Wang Tingjun is not as talented as Qiu Jin, he is not illiterate as described in some literary works, and he can be regarded as a rich boy who knows books and manners. And at the beginning of becoming a monk, the relationship between Qiu Jin and her husband's in-laws was relatively harmonious. In the next few years, Qiu Jin added a son and a daughter to the Wangs.

Strange strange bedfellows, who really runs counter to her husband, started after she came to Beijing. 1903, Wang Tingjun, through his relatives in Zeng Guofan's house, donated a kyou-kan who was in charge of the fact. After Qiu Jin and her husband came to Beijing together, they made many progressive friends and gradually broadened their horizons. Coincidentally, her residence in Beijing happens to be next door to Wu Zhiying. She is a talented woman with a negative literary name. Qiu Jin and Wu Zhiying hit it off with each other. Both of them have a strong interest in poetry and profound attainments, and their thoughts tend to be innovative, longing for all kinds of new things introduced to China at that time, so they became sworn sisters. Through Wu Zhiying, Qiu Jin often saw some new books and newspapers published at that time, and his realm was constantly improved. Therefore, she gradually widened the gap with her conservative and career-oriented husband Wang Tingjun.

It can be seen from some records that although Wang Tingjun was a conservative, his words and deeds to his wife were not as strict as those of feudal autocratic husbands. Qiu Jin has always been more free and easy in dealing with people. The first big conflict between them was because Qiu Jin wore men's clothes to the theatre on Mid-Autumn Festival night. It is said that Wang Tingjun hit Qiu Jin for this matter. For him, after all, he is a Beijing official, and his wife's shocking behavior has greatly hurt his self-esteem. And when Qiu Jin left in a fit of pique a few days later, she not only tried to persuade her friends again and again, but also personally apologized and took her back.

He is actually very patient with Qiu Jin. Perhaps in order to get closer to her, he also learned a foreign language. And Qiu Jin is still not satisfied with this husband who is not talented enough and has old ideas.

Qiu Jin met a Japanese woman in Beijing. She is the wife of Dr. Hattori, a Japanese teacher at Shi Jing University. Qiu Jin once told her that she didn't like or even tired of her husband's gentleness and kindness, and she was dissatisfied with the "harmonious" family atmosphere, but she couldn't find any reason to resist-"I always felt dissatisfied with this harmony, even tired. I hope that my husband will rape me and oppress me violently, so that I can summon up courage to fight with men. "

This is not Wang Tingjun's greatest sorrow. When a person does not love you, even breathing is wrong.

Hattori Tomoko said in her memoirs that Qiu Jin had told her many times: "I am determined to do something that will make men stunned." Although Hattori Tomoko told her that "women are not inferior to men by birth, they are all equal as human beings ... wearing men's clothes, but their bodies cannot be changed. A woman is a woman wherever she goes. Only when she lives without inferiority and dignity will a man admire her ... You stubbornly hit a man, but you show your weak nature. " In fact, there will never be such a thing as "either the east wind overwhelms the west wind or the west wind overwhelms the east wind". What is needed is a real sense of equality and respect. But these views are difficult for Qiu Jin to understand and do not accept.

Wang Tingjun strongly opposed Qiu Jin's study in Japan from the beginning. Some people seized this point and lashed out at him, calling him a lackey of the Qing court and so on. In fact, from the perspective of human nature, Wang Tingjun was an official of the imperial court. His wife left her young children and went to Japan. He may also take part in revolutionary activities against the Qing court. One is because it is difficult for husband and wife to give up, and the other is because they are afraid of causing trouble to their families. It is strange to ask him for a generous answer. In order to prevent Qiu Jin from going abroad, Wang Tingjun took time to accompany Qiu Jin to go shopping, go to the theatre and buy her favorite calligraphy and painting cultural relics, but all this could not keep Qiu Jin's heart.

But in the end, I saw that Qiu Jin had made up his mind. This man was not at ease because he was away from home. On the contrary, he went to Hattori Fanzi to intercede and asked her to be Qiu Jin's "guide" to Japan. He said to Hattori Fanzi, "If you refuse to take her away, my wife will not know how to suffer. Although we have two children, I still beg you to take her! "

Some people say that if Wang Tingjun can resolutely join the revolutionary torrent and compete with his wife Qi Fei, maybe this marriage can still be saved. And he did, he is not Wang Tingjun, but Tan Sitong. It's just that in this world, warriors are always only a handful of us.

She is a dragon who wants to make trouble. He just loves koi fish, in a peaceful corner; She is Kun Peng who wants to soar in the sky, and he is just a small tit with quiet branches; She is a sonorous rose in everyone's eyes, and he is just a nameless weed at the foot of the rose. Anyone can see the huge gap between them. So some people say that he should thank Qiu Jin. If his wife hadn't surprised the whole world, he would never go down in history.

But in fact, they forget that even if he is just a weed, he needs the nourishment of rain and dew. Maybe what he wants is not a history book. All he wants is a stable family, children under his knees and a wife who takes care of each other.

There seems to be nothing wrong with him. What is wrong is that he met the wrong person at the wrong time.

According to historical records, after Qiu Jin's death, Wang Tingjun was greatly weakened. After taking soup for several months, his body gradually lost weight ... He was ill for two years, and he could not afford it. At the age of thirty, he was buried in Yezitang, Sijia Sandu, Qinyi.

I have seen too many accusations against this man, but in fact he is the one who has been teased by fate for a long time. If he hadn't married Qiu Jin, a rare chivalrous witch in the world, maybe he would be much happier in his life. Qiu Jin was separated from him all the year round, and his affection for him was close to zero, but he insisted on not giving up this marriage and never took a concubine. This was very rare at that time when men had three wives and four concubines. Even today, what he did for Qiu Jin in those days, I'm afraid today is not what ordinary men can do.

In this life, although I can't be a man, join them. The heart is not limited to this, the man is so powerful! There are many pictures of men's wear in Qiu Jin's handed down photos. The gentleness of her appearance is inversely proportional to the fortitude of her behavior. If she had been a man, perhaps, she would have suffered less. In other words, there will be less pain left to others.

She and Wang Tingjun have a son and a daughter. However, there is no trace of maternal love in all her poems. She never mentioned a word to them in the letters handed down from generation to generation after her trip to Japan.

According to 1935 "Historical Geography of Xiangxiang", in 24 years of the Republic of China, Qiu Jin returned to the Wangs in Xiangtan, Hunan. Wang Tingjun's father saw his daughter-in-law come home suddenly, thinking that she had changed her mind and was overjoyed, so he received her warmly. Qiu Jin said that he wanted to run a school, but he lacked funds. Wang Tingjun's father gave Qiu Jin some money so that his son could meet Qiu Jin again. A few days later, Qiu Jin took the opportunity to slip away from the Wangs and quickly returned to Shanghai.

It's not just this time that Qiu Jin went back to the Wangs to ask for money. Wang said in the article "Memories of Aunt Qiu Jin": My family used to live in Lotus Leaf in Xiangxiang. When I was four or five years old, I saw my aunt Qiu Jin come to my house. She reads in my mother's room and stays at home every day. After living in Xiangxiang for a month, she returned to Xiangtan. According to my mother, Aunt Qiu Jin asked her mother for money, but she ignored her. Aunt Qiu Jin smashed a knife on the table and threatened to kill someone. Her family saw her so fierce that the housekeeper gave her 4000 yuan.

During the period of 1907, Qiu Jin presided over the educational administration in Zhejiang Datong Academy, and worked out the military system of the retrocession, secretly planning an armed uprising, and was arrested after the defeat. On the sixth day of the sixth lunar month, he died at Xuantingkou.

She died. Being beheaded for her ideals and justice. Someone witnessed the cruel execution scene-looking through the gap of the crowd, there was a woman lying in a pool of blood. People look thin.

In her life, except for giving birth to two children, she lived almost in a man's way. Some people will think that death finally fulfilled her. But I just feel sad.

Knife and wine are actually not women's things. She wears a Japanese knife, is good at drinking, wears men's clothes and changes her name to Xiong Jing. Maybe her ideal is a man's ideal. And history is still the history written by human beings.

After Qiu Jin's death, her brother was taken away by Yin Wei, afraid to collect the body. First, it was pinned down by the mountain pond and hastily buried (buried at the foot of Fushan Mountain), and then it was dug out and buried in the "Yanjiatan Military Society". Later, he Xu buried her near the West Lake, but because the Qing government wanted to level the grave, she had to dig out her bones and put them back in Yanjiatan.

At this time, the Wangs stepped forward and sent people to Shaoxing in the name of their son Wang Yuande. They ventured to transport Qiu Jin's coffin back to Shaoshan, Hunan, and buried it with Wang Tingjun. 19 12 In May, with the consent of Hunan and Zhejiang provinces, Qiu Jin's body was reburied in the West Branch Bridge of West Lake outside Hangzhou. With the approval of the Governor's Office, Hunan women's circles and the League set aside Changsha Temple to rebuild the autumn women's martyrs' shrine, all of which were funded by the Wang family.

Qiu Jin didn't hurt the Wangs. And the Wangs to Qiu Jin, is also show extremely forbearance.

Today, there are still some writers or film writers who do not hesitate to demonize and vilify his image to set off the glorious image of Xia. Although aroused the strong indignation of the Wang family and Qiu Jin's descendants, his villain image has been deeply rooted in people's hearts. Wang Tingjun will die unsatisfied under the spring water.

Shortly after Qiu Jin's death, Wang Tingjun also died. Canzhi Wang, who lost his parents, almost died of hunger and cold at the age of eight, and Wang Yuande never wrote a word for his mother.

Behind those perfect and tall figures, there are many weak, sad and crying voices. However, no one heard.

I had a chance to see the screening of the heroine Qiu Jin. I don't know why Qiu Jin/Crystal is always haunting me for the next few days. Maybe she disguised as a man is really handsome and cute, and her expression is unforgettable. In fact, I have never had any feelings for Crystal, but this drama shows that she works very hard and looks good, which deserves extra points.

The most emotional thing about watching this movie is the memory of the past history books. As a member of the history class of college entrance examination, I am very kind to the nouns Chen Tianhua, Xu Xilin, Jing Shizhong and Meng Hui. For men and women, God bless is more cordial-I couldn't help laughing when they came out, and the whole audience laughed ... Although I want to laugh at their generosity every time, God bless is really a bit like Xu Tianhua. The way he talked seriously with a steamed stuffed bun face, and the way he walked in a Chinese tunic suit with long hair (probably because he was too fat), let me immediately see the black and white photos of Xu Tianhua in the history books. In Japan, the students who opposed the collective return to China turned out to be Lu Xun and Xu Shoushang. They didn't name the students in the film, but they didn't know until they checked the information and learned a lot.

The script is solid, and it seems that there are no serious injuries. The overall feeling is quite serious, but there are many martial arts dramas, and it is easy to get lost when you start playing. I have interviewed director Qiu Litao before, and I know his films very well, but I have rarely seen them-because they are either bloody and horrible or fighting, and the taste is too strong. But I don't agree with some people that this film is vulgar. May be popular, but vulgar, vulgar, kitsch? At least the hero and heroine Qiu Jin and Xu Xilin are very close, but they are not close. They only stay between comrades-in-arms and never go further on the ambiguous road. When Qiu Jin died, although she waited, she didn't come back to see her for the last time. I think this detail is a little delicate.

Qiu Jin's husband Wang Tingjun is a gentleman who likes flowers, birds, fish and insects, while Kevin Cheng is very handsome. Fortunately, the film did not regard him as the opposite of Qiu Jin, but also gave him his own inner world. When he said, "I am a gentleman, I was born a gentleman, and I can't play saving the country." Can writing poetry save the country? " At that time, I really felt that he was very reasonable, and even Qiu Jin was a little confused by him-so he embarked on the road of saving the country by armed forces. Although Wang Tingjun is not a hero and has no ambition, he is still a decent husband. He is very tolerant of women's swords and spears, and accepts to run away from home once or twice every time he comes back, even without resentment (only once did Qiu Jin men's wear attend a high-profile public occasion, and he lost his temper). It's just that Qiu Jin had to abandon his family for everyone. In fact, he is also very poor.

There are two other characters in the film, Qiu Jin's comrades-in-arms when he was in Japan. Boys have money and families, chasing girls and being stopped by other comrades. They met again after many years. Qiu Jin was very angry when she found out that the girl was still married to him as a concubine and didn't want to talk to her. The girl said piteously, "When my father died, he really helped me a lot. I'm here to pick you up. " My thoughts are the same as above: Qiu Jin herself is honest, disloyal, independent and unyielding, but what's wrong with this girl who left the revolutionary road? When her father died, did these enthusiastic classmates and comrades come out to help? If there is, I won't let that boy take advantage of her danger; If so, it's not surprising to see her get married many years later. They may not even know that she is in trouble. If the heroes say that they can't care about such a trivial matter, they should save the country first, so as to avoid more such things, I don't think it has much to do with the times and the current situation, right? This girl just wants someone to be nice to her. At least for now, she can easily help Qiu Jin run a newspaper.

I really have no ambition. If I had been born in the past, I would never have been a hero without being a traitor. However, in such a film that praises Qiu Jin positively, the little people who are different from her are still flesh and blood, although they are not full-bodied, which is good after all.

Qiu Litao knows that this kind of biographical film is very popular, especially Qiu Jin is responsible for the rise of women's rights and the spark of revolution, so it is inevitable that there are many lines from Gao Daquan. His countermeasure is to avoid it completely, but to minimize it, while maintaining the intimacy of theme and narrative. He not only retained the emphasis and rendering of Autumn Rain Sorrow, but also tried to explain Qiu Jin's ambition in colloquial sentences, and at the same time handled it hierarchically. From the question of "why can't men be women" to the later revolutionary righteousness, it is a gradual psychological process to avoid boredom. Of course, the biggest premise to satisfy the audience's entertainment is to mold all revolutionaries into martial arts masters and gun gods.

This theme could have been treated as a complete narrative, ending with Qiu Jin's death, but in this way, the climax was too saturated: Xu Xilin uprising, giant fight, death after arrest, followed by Qiu Jin's war of resisting arrest, death, a large number of continuous action scenes will make people feel aesthetic fatigue, and it is difficult to fully develop the wrestling between sympathizers and beheaders in officialdom after Qiu Jin's arrest. Today's practice is to put the World War I in Qiu Jin at the beginning and the World War I in Xu Xilin as the climax. Later, in order to echo the leading role of Qiu Jin, a member of the Guangfu Association was added as a nemesis? Keaton's clever escape is balanced and full in martial arts. It's a wise choice for the whole movie to go hand in hand. Qiu Litao doesn't do rigid memories and flashbacks. He connected the two clues with emotion. Every scene after being arrested corresponds to a kind of retrospective mood. You have me, I have you, and they push each other forward to form a smooth narrative, which reminds people of Memento's ingenuity.

There are no leading roles and supporting roles in the films, and almost all of them have their own merits. Qiu Litao can do this because he didn't waste any role's contribution to the plot. Qiu Jin's husband is a rich man who loves pleasure at first sight. Usually, the audience expects him to set off the healthy green leaves of Qiu Jin, but they don't expect him to have any positive influence. However, it was his crazy behavior that made Qiu Jin study in Japan. This kind of character handling is rare in general action movies (I hope Qiu Dao is not a fan walking on thin ice). Mrs. Langzhong didn't appear many times, but without her, Qiu Jin's long feminist ambition could not be reasonably expressed (she couldn't always argue with men or discuss with Xu Xilin). Even at the memorial service after Chen Tianhua jumped off a cliff, a group of officials and students were unreasonable, which had a subtle influence on Qiu Jin's psychology and would not become worthless passers-by.

The fighting in the film presents a kind of effect of "one-on-one fighting is surging, and the group fights are flat". The indoor fighting between Crystal and Xiong Xinxin is a typical example of action scheduling in a narrow space. With the help of steel wire and quick editing, the wanton destruction of the article has great visual impact. With the help of the action design of force, facing a burning document, the clever struggle of Jackie Chan completely obliterates the identity of Crystal as a non-practitioner, resulting in a thrilling confrontation with Xiong Xinxin. The climax fight between Du Yuhang and Xiong Xinxin was a great success in the open space. They are free to use all kinds of adult weapons, flying around and kicking around. Both of them are practitioners. Compared with the former, they are more imposing in the room, but they are not as serious as the traces of Weiya, especially the people flying around after the shelling. Du Yuhang may be a born martial arts champion, but he still has some traces of routines, which need lens language to make up for.

In contrast, a dozen or so can be considered unsatisfactory. When Qiu Jin was cut down by an enemy in the yard, she was almost a housewife chopping vegetables, and she had no manners at all. It is better to whip the officers and men in the market behind, but it is not very tenable in the plot (even if her husband donated an official, his wife beat the officers and men and beat the foreigners, but she can get away with it? ), is for the sake of the proportion of literature and martial arts drama coordination and joined. The editing of the conflict between Japanese students and military police is the worst, which has little effect on promoting the plot, but it has its own significance: how to make a historical film without exaggerating the national plot and hitting a few Japanese? After Xu Xilin was injured, he fought bloody battles with all the officers and men, which was the most heroic dry cloud. He filmed the tragic ending of the hero, but it was too short, and the successful ending of the villain was always wronged.

When shooting historical films, Qiu Litao's style is very realistic. The previous "IP Man Prequel" is also a historical theme, but there are always exaggerated gimmicks to describe the growth of a generation of masters, such as Master Lu Yu and Japanese "senior" spies, while "Qiu Jin" completely abandons these, except for exaggerated martial arts, and there is almost no surreal brushwork. The scene of Xu Xilin being tied up in the maw of his mouth and abused, the heartbreaking screams of Qiu Jin when he was tortured, and the horrible fingers in the close-up could not have been so shocking, but since history has been restored, there is no taste without them (by the way, it is still not recommended for parents to take too young children to see it), and the scenes of revolutionary martyrs Liu Daoyi and Chen Fen being outnumbered and heroically sacrificed, if they were replaced with "Sharpshooter" and "Wisdom Star",

In addition, it takes courage to make a historical biographical film, especially in today's situation where the audience are all historical experts and angry, it is even more important to tread on thin ice to avoid making jokes accidentally. At this point, Qiu Litao's ability to see the real chapter in the details is not small, even to the point of being too serious. In the film, Japanese students called taking pictures "photos", which caused a chuckle in the cinema. However, considering the age of the story and the origin of this foreign word, the usage here is still very appropriate. There are several such details. Audiences who like real movies will certainly gain a lot of fun, but the truth of history may not be in line with the truth of art. In the audience who are difficult to adjust, this practice can easily lead to polarization of the viewing experience.