What is the significance of Lu Deshui's movies?

"Chad Water is the best domestic film of the year." This is the funniest joke I have heard this year. The popularity like this has reached a disgusting level, and I think it is necessary to come out and talk about it, because it is really not as good as you said.

There is no denying that the idea of this film is really sharp. The whole film is full of firepower, mercilessly satirizing and lashing intellectuals: first, the temptation of empty salary, then the oppression of official power, and then the shock of bullets. Let their ugliness be unobstructed. As the story goes on, the power system and the alienated environment deprive and destroy everything that everyone cherishes in the film, such as dignity, beauty, ideals and courage. ...

This is obviously the reason why many people pursue "getting water from the donkey". However, such a film seems to have substance in words, the expression is a disaster, and the ambition to pursue "things" is too obvious.

To say that its expression is out of order is not to dislike that it is full of drama and not "cinematic". I don't have too persistent pursuit of the film itself. The structure of the screenplay itself is divided into drama, novel and prose structure, which shows its dependence on sister art. Many films with obvious dramatic styles are also successful, such as 12 Angry Men and Killing God.

The fatal wound of Lv Deshui lies not in the defect of film adaptation, but in its violation of the basic law that artistic creation needs purification and filtration. It is not so much a movie as a rude experiment and display of the ugliness of human nature, which is easy to cause physical discomfort to the audience.

Appreciating the impression of this film, especially the second half, is like someone holding your head, making you look at the ugliness of human nature irresistibly and proudly asking you, "Am I very deep?" This kind of "profound" as the banner, openly offended the audience, but also won a full house applause. It can only show that our "deep" demand for movies has reached the point of hunger.

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The creator's deliberate pursuit of "depth" is concentrated in the sudden turn of style in the play. The first half is still a satirical comedy, and the second half is a human tragedy. Some film critics applaud this kind of "playing cards out of common sense", but they don't know that the split of style before and after the film weakens the intensity of comedy irony and the weight of tragic ending.

Ignoring the overall construction of the story and the internal operation logic of the characters, indulging in playing with concepts and symbols in the overhead space-time background, the result is a gunshot-desperately trying to create a meaningful but deliberately unable to cover up the hole. If the "comeback" after hunting is "unexpected and reasonable"; The gunshot in "The Water of the Donkey" is just the opposite, which is "expected, beyond reason"; Compare the two, stand up and have a look.

"There are many kinds of comedies, some are ridiculous in words and deeds, some are ridiculous in things, and some are ridiculous in logic and truth behind these things." Xiaogang Feng once expressed similar meaning. On the surface, the jokes in Donkey's Water are some "dirty jokes", which are really not new in the era of abundant talents.

"Tell more lies for the sake of telling one lie" is a classic comedy situation that never fails. Unfortunately, this film doesn't quite match. Especially the motives of liars can't stand scrutiny. For example, in the second half of Zhang Yiman, despite being humiliated, the foundation of those who forbear and give up resistance is very shaky. Obviously, it is absurd for the sake of absurdity and critical for the sake of criticism.

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The water from the donkey is not a good comedy, let alone a good tragedy.

Take Zhang Yiman, who won the sympathy and tears of many audiences, as an example. Obviously, she is the most tragic in this film. After all, in the first half of the film, the clown-like group was set in the back, all the men were blackened like hanging, and only she suddenly sublimated into the suffering virgin. This kind of bohemian life, especially pure and beautiful in mind, itself has a strong dramatic conflict, so it is particularly easy to shine.

But as long as you look at it a little, you will find that our sympathy for Zhang Yiman is more out of fear of her suffering. It's really a pity that those completely ugly male characters, those humiliating scenes that are repeatedly emphasized and magnified by close-ups, are willing to approach the role in the play and bear and face it with her. However, the quasi-Cultural Revolution-style picture of "The Water of the Donkey" just wants people to escape.

A wonderful tragedy is often a combination of sadness and happiness. "Donkey's Water" is just uncomfortable and can't provide the audience with emotional purification and the pleasure that comes with it. This kind of "pleasure" is not to take pleasure in other people's pain, but to maintain a "sense of distance" with the audience, as Mr. Zhu Guangqian emphasized. Donkey Water thinks it is clever, dispels this distance and concentrates on feeding the audience with "atrocities".

By the way, the grading system in China should be put on the agenda as soon as possible. Such movies are full of swearing, dirty jokes and sadistic scenes, and many children are brought in as a family comedy. This is much more serious than the disaster presented in the movie. I also strongly doubt that most parents who just want to play can give their children correct guidance.

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Finally, I really don't understand why many people like the role of Zhang Yiman so much. Perhaps because other characters are too unlovable, the principal's daughter has no sense of existence, so she has become the only sustenance and outlet. But in fact, the first half of this role is just a wayward and naive young woman, and the second half is a lamb to be slaughtered.

I hope this description will not cause some readers to misunderstand, because this is not my subjective judgment, but the true presentation of this film. From the coppersmith's return to "anti-killing", facing the tragic fate set by the creator, Zhang Yiman basically lost his personal will, and from madness to death, he just completed a fixed process.

"Pajamas" is a highlight of this film, and it is also the reason why many people like Zhang Yiman. But some comments are related to feminism, which is really ironic.

Firstly, Zhang Yiman's "Pajamas" plays the role of a coppersmith mainly because of her interest in sex, so it is logical to help the school continue to eat empty salaries, otherwise it will be difficult to achieve logical self-consistency in the play. Second, the direct cause of Zhang Yiman's final humiliation was the coppersmith's revenge, but if she didn't want to continue to panic, this revenge could not be established.

The director's "hold back" lies in mixing the original two things into one thing. In this case, Zhang Yiman was severely punished for a small mistake. In other words, Zhang Yiman is by no means culpable of punishment, but to some extent, she deserves it. I have to admit, this plot design is very interesting, and it is also the only place I am sure about this film.

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As you like, you can sleep with whoever you want. We don't consider the ultimate contradiction of mankind. Say "I'm sorry" with apologies after sleeping. If it is a person, this will be the standard "love rat" judgment. In fact, people are shackled everywhere, where can there be absolute freedom? The same is true of sex, which is the childish place of Zhang Yiman.

During the conversation, I repeatedly hinted in public that it was "more difficult" to flirt with male colleagues who had sex with me, and colluded with each other by giving training opportunities to male colleagues who had just "taken up their posts". If it is a man, it is 100% sexual harassment. This is the wayward place of Zhang Yiman.

So those who think that Zhang Yiman holds high the banner of women's rights really save it. A word for you: feminism without any spirit of introspection is pseudo-feminism, but it is another extreme male chauvinism or privilege.