The box office of Yang Dechang, a literary and film master, may not be guaranteed, but there are still world-famous boutiques inside.
For example, the "A Brighter Summer Day" that many people admire very much.
Li Changsheng said before that he doesn't want all films to be commercial, and he doesn't want to be excessively commercial.
There are some movies that may not seem particularly popular now, but they are very meaningful,
You can't just because you don't make money, you shouldn't exist in this world.
Just like Zhou Xingchi's "A Chinese Journey to the West", it didn't make any money at the time,
But later everyone deconstructed a lot of the meaning of postmodernism. On the contrary, it is the one that has the deepest impact on everyone among all Zhou Xingchi's films.
Li Changsheng suffered from those mercenary capital himself, so he didn't want to be too mercenary,
Some knowingly meaningful things that don’t make money still need someone to do them.
Li Changsheng feels that in the world cinema, the three most epic films are Chen Kaige's "Farewell My Concubine", Hou Xiaoxian's "A City of Sadness", and Yang Dechang's "A Brighter Summer Day" "——Among all Edward Yang's films, this one is the most special one.
Among Chinese film directors, Edward Yang is quite special. His specialness does not lie in the fact that his writing conveys the truth, most of the outstanding or thoughtful creators in China are like this
It lies in his constant rationality, in his persistence or childishness in asking himself to the end.
Most of the directors are like most of the heroines, they are too precocious or cynical, which makes their thoughts show a delicate and old state. They naturally know that truth does not exist, morality is relative, and ideals are impossible to achieve, so they are always eager to forgive and lament unswervingly. The advantage of this is that they can understand the complexity of the world, the ambiguity of human nature, and don't criticize people, but the disadvantage is that they give up the urge to seek answers prematurely, and even develop a hidden laziness to show compassion in the name of.
And this is Yang Dechang's benefit.
He has an unusual love for answers. This pursuit of precision and certainty makes his films show a degree of meticulousness that is rarely seen in Chinese-language films, and the persuasive power possessed by such meticulousness. The enthusiasm for the truth makes him have an absolute moral cleanliness, a sharpness that people can't stare at.
Of course, this also makes Edward Yang's films often have a kind of exquisite deliberation, but "A Brighter Summer Day" is an exception.
0...seeking flowers...
Compared with his other outstanding but somewhat dry works, this film has a rare juicy feeling.
The preaching tone in his films that some people find it difficult to adapt to, also appears quite natural against the backdrop of the film's incomparably rich details.
Compared with the overt anger in his other films, this one seems more restrained on the outside and more diverse on the inside.
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It's about love, but it's not just about love. It is about success, but it is not limited to success. It is about the individual, but not limited to the individual. It is not only about the whole social structure, but also stops at sociological analysis. It is not only the damage of a person, but also the bleak reflection of an era.
Maybe it’s because this movie is based on his real life when he was a teenager, every object on A Brighter Summer Day, the unique standing postures of the characters, the dim lights in the night department of high school, and the American culture that flows from everywhere. The music of the 1960s permeates a kind of emotion that is rarely seen in Edward Yang's films. The combination of the sad and unforgetable softness, combined with Edward Yang's usual clarity and sharpness, gives the film a unique Thousands of textures. .
