1984 color film 10 copy
Produced by China Guangxi Film Studio.
Director: Jun-Zhao Zheng Screenplay: Zhang Ziliang Wang Jicheng Photography: Xiao Feng Zhang Yimou Main Actors: Tao Zeru (as instructor) Chen Mingdao (as Xu Zhi) Lu Xiaoyan (as Yang Qiner) Zhao Xiaorui (as baldy) Zhao Wenjian (as thick eyebrows) Zhai Chunhua (as thin smoker) Wei Zongwan (as old deserter) Xin Ming (as middle-aged deserter) Liu Honggang (as little deserter).
abstract
In War of Resistance against Japanese Aggression, there are eight prisoners in a temporary cell of the Eighth Route Army. Among them, there are three bandits: the big bald man, the thin smoker and the thick eyebrows; There are three deserters: old, middle-aged and young; There is also a poisoner and a spy. They tied the leggings together and hung them on the beams, and dug a big hole in the roof to escape. Just then, a man was violently pushed into the house. He is Wang Jin, the instructor of the Eighth Route Army, who was mistaken for an apprentice in the organization. As soon as he came in, he saw what the prisoners had done, and he was in a hurry to knock on the iron gate, saying that he was looking for an important report from Xu Zhiyou, the chief of the anti-rape department. The sound of unlocking came from outside the door, and the prisoners hurried back to their original places and pretended to sleep. When Xu came in, he found a mess on the ground and a hole in the roof. Wang Jin said something that surprised the criminals: "Go to the 3rd battalion commander of the 3rd regiment. He can prove that I am not a spy. " Xu Changke ordered the soldiers to tie up all the prisoners. The attempt to escape from prison failed, and the prisoners gnashed their teeth and wanted to beat Wang Jin. At this time, the little deserter fainted because the wound was festering and inflamed. Wang Jin calls the health worker Yang Qiner. Yang Qiner changed the dressing for the little deserter, and the thin smoker molested her. Wang Jin was so angry that he kicked the thin smoker over. After Yang Qiner left, the prisoners swarmed and beat Wang Jin black and blue. As the prisoner expected, he did not report to Xu and the guards.
A few days later, the Japanese called, the troops moved, and the criminals were tied up and tied to a rope. In hot weather, all people are thirsty. Yang Qiner gave Wang Jin water to drink, but Wang Jin didn't, indicating that he would give the water to the little deserter. On the way to March, Wang Jin asked the deserters, "You all fled back to your hometown to see your parents. Who will fight the devil? " The deserter asked him, "Were you also caught as a deserter?" Wang replied, "I used to work underground at Tianjin Wharf, but I was arrested because of the traitor's betrayal. On the eve of the enemy shooting at us, everyone tore at each other's ropes and dived back ... "
The next day, in the army, the bald man sprained his foot and said, "I won't leave until I'm killed." The escort soldiers were about to shoot him. Wang Jin squatted in the bald man's ear and said, "If you want to die, you have to die like a dog. This makes people cut it. It' s so embarrassing! " Then he asked Xu, "He sprained his foot, so I came to carry him." So, carrying a bald man, Wang Jin crossed the railway with the troops. After arriving at the camp, Wang Jin used the skills he learned at the dock to help the bald man put his bones back in place. The bald man said to his two brothers, "Today's family is interesting enough. Don't bother him in the future! "
On the way to March on another day, the prisoners smelled the burning smell. When the troops walked into a village with only ruins left, the prisoners were shocked to see the bodies of ordinary people lying in disorder. Suddenly, a madman ran out of the pile of corpses and ran into the wilderness while shouting. A soldier poked Wang Jin in the back with a long gun and said, "You helped the Japanese." Wang Jin let out a cry, pounced on him like a leopard, hit him on the head, stomped on it, and vented wildly. After arriving at the camp, Xu talked with him. Wang Jin said, "I know it's not the Party that suspects me, but the enemy that sets me up. I hope to organize an investigation. You can find three regiments and three battalion commanders. " Xu said, "He's long dead, but you are quite good at taking advantage of loopholes. This is a special period of war. First, there are no investigation conditions, and second, it is not allowed to drag on. " The old deserter said to Yang Qiner on the other side, "Girl, I am a useless person, but instructor Wang is not a bad person. He is wronged ... "Yang Qiner also said to Xu Zhi," I don't think instructor Wang is like an enemy. " Xu Zhi seemed to walk away without listening.
At night, the soldiers suddenly came in and took all the prisoners out. First of all, they hacked the poisoner to death with a knife, and the skinny, deserters and thin smokers were all paralyzed with fear. The bald man didn't look at the direction of chopping people, but pretended as if nothing had happened. Wang Jinping stood still, and the spies knelt before Xu Zhi for mercy. When Wang Jin suddenly left for the execution ground, Xu Zhimo ordered Wang Jin to be shot. The bald man suddenly shouted, "I don't think you wronged anyone." Kill me first! " "The old deserter said," Let me take the second one and let the instructor live a little longer. Wang Jin said sincerely: "I know that the troops have difficulties in ammunition, so I left that bullet to fight the devils." . "You cut me, all I ask is to shout a slogan in a low voice to express my feelings for the party." At this time, Heimei interjected: "You killed me, I have nothing to say, but this instructor is your man, so you gave him a gun and let him die on the battlefield ..." The spies also shouted: "You are all lenient. If you don't fight the devil to the end, you will be thundered! " Xu Zhi, who executed so many traitors and traitors, was finally unable to make a decision and ordered: "Bring them all back and ask for instructions." Unexpectedly, at this time, the enemy has surrounded the village. Xu Zhi ordered the soldiers to take the prisoners into a big temple and attack the enemy in front. Wang Jin tried several times to rush out to fight, but was forced back by soldiers escorted by guns. Being outnumbered, the enemy rushed into the position. Both Xu Zhi and the escort sentry were injured by shrapnel and fainted. The bald man bit off the rope with his mouth, and then picked off the rope tied to Wang Jin and other prisoners with a bayonet. Wang Jin led the people to rush out to fight, and now he has beaten back a group of devils. When the Japanese charged for the second time, the middle-aged deserter died. The old deserter chased the escaped spy and was stabbed to death by the Japanese army who took the back road. Wang Jin carrying Xu Zhi, continue to retreat with the prisoners. The three devils who rushed up were shot dead by the big bald head. The big bald man shouted happily, "easy to kill, easy to kill!" " "Just then, a shell exploded above his head, and after the smoke cleared, the earth was empty and clean. In the chaos, the thin smoker walked in the other direction with the little deserter and Yang Qiner. The thin smoker coughed because he ran too fast. Yang Qiner rubbed his back and called him uncle. The thin smoker was deeply moved. He arranged for two young men to look for water elsewhere. When he came back, he found that several devils had stabbed the little deserters and were grinning at Yang Qiner's clothes. The thin smoker pulled out the last bullet and hit Yang Qiner, letting her die cleanly. There was a gunshot behind him, and the thin smoker fell to the ground forever.
Behind Xu Zhi's back, Wang Jin finally broke through in the thick eyebrows. When I arrived at the Eighth Route Army station, thick eyebrows suddenly knelt down and raised their big guns with both hands. He said, "eldest brother, I am a rough man and used to being wild." I admire the Eighth Route Army, but I can't stand your rule. But I will not infringe on the people in the future, I will fight the devil to the end! " Wang Jin listened quietly. Later, he took the gun. Heavy eyebrows overlooking, Wang Jin and Xu Zhi are struggling on the vast desert.
Distinguish and appreciate
In the photo caption of this film, there is a sentence written impressively: "In art, sons don't have to be like Laozi, and every generation must have the idea of a generation."
One and Eight, as the pioneering work of the younger generation of film artists in China, has extremely special significance in the film history of China. In terms of film language, it breaks through the paradigm of traditional film language and shows the historical personality of visual modeling, which has the following characteristics: First, all its visual elements and image modeling are no longer just narrative means of stories, but, like actors, directly convey the connotation of the film and serve the spiritual reality of the film. This film mainly describes not the external experience of Wang Jin and eight criminals, but their internal spiritual experience, the struggle between souls and the collision between personalities. The film designs the image of a female health worker, Yang Qiner. From the visual modeling, she avoided the brave, provocative and provocative female characteristics in the war years, but emphasized a delicate quality and gave her a long military uniform, which made her slightly weak. When the telephoto lens shakes the prisoner's face from another perspective, what we see is ferocious, barbaric, vicious and ferocious. In particular, the dim shadows on their faces show a tense confrontation. In the next shot, the foreground is the back of several huge black heads, and there is a big gap between the two huge heads, from which we can see the white and immature face of the female health worker. Yang Qiner exists here not as a narrative factor, but as a modeling factor, which makes the picture have a strong contrast effect: pure and purer, dirty and dirtier; Feminine is more feminine, and rude is more rude. The depth lens used in the film actually plays a montage role inside the lens, implying the contrast between different souls, between truth, goodness and beauty and falsehood, between snow and sludge, and between masculinity and femininity. Through visual modeling, we not only understand the story, but also feel the conflict between kindness and cruelty, purity and filth, sublimity and smallness, loyalty and betrayal, and experience the generation of blood and fire, and the collision between life and life.
From the picture, all indoor shooting, whether it is a mill, a barn or a brick kiln, is a narrow space, which is in harmony with the distorted mental and physical conditions of the prisoners held in it. In location shooting, especially in the second half, desolate, vast and empty land and sky appeared, which echoed with the re-establishment of their noble personality and the re-acquisition of their spiritual life.
Secondly, China's middle-aged directors advocate documentary aesthetics in modeling, pursue the restoration of material truth, and make the picture as close as possible to the original appearance of life. However, younger directors are more interested in the display and radiation of artistic personality, and their modeling is trying to express their artistic feelings and life experiences, as well as their subjective feelings about life. In order to make this feeling and experience strong and profound, they sometimes go against the logic of reality and make unexpected artistic treatments. For example, after the bald man killed three devils, he waved a big gun in one hand and shouted, "Son of a bitch, go!" ..... "There was a loud bang and a shell exploded not far from him. In the middle shot, black smoke enveloped the picture. Not long after, the big bald head with blood on his face actually emerged from the black smoke, still shouting: "Haha, happy!" " Another shell exploded on his head, and the black smoke slowly drifted away. After the smoke cleared, only an empty and clean land was left. Young artists pursue a poetic style in visual arrangement, which makes bald men's personality get a solemn sublimation.
Thirdly, the film pursues a strangeness in modeling, trying to break through the limitations of the traditional modeling paradigm and narrative composition: for example, the film is generally full of composition, with a lot of close-up and middle scenes, and the subject often fills the lens, giving people the impression that the picture is broken. The first cell shot in the film, with iron bars across it, is dark in color, giving people a feeling of depression and breathlessness. When shooting the dialogue between characters, it also broke the habit of using the lens and balancing the layout of the picture. Instead, people use the back of their heads, millstones and laundry baskets as the foreground, occupying most of the picture, leaving only a little space for the speaker. In a word, young artists boldly use incomplete composition on the premise of striving for a complete overall impression, or emphasize on the screen design to break the balance, resulting in a strange visual * * *, and create a contrast effect with concise methods on the premise of highlighting a large area. The scene of Wang Jinbei's bandit bald man passing through the railway, with the sky as the background, crushed the sky into middle gray by reducing exposure, making all the characters become silhouettes, and the whole scene was represented by silhouettes, which was rare in previous movies. In order to express clearly, the film uses everyone's different body posture, habits and action styles, and uses everyone's different pronunciation, intonation and cough when speaking, so that the audience can not only clearly see the evolution of the whole situation, distinguish each role, but also get a glimpse of the inner activities of the role through action. At the scene of the brick kiln, the antagonism between Wang Jin and the prisoner eased, and the two sides started a dialogue. In this well-shaped brick kiln, the sunlight can only come in from the top, so the creators took advantage of the situation and filmed with the sunlight on the top of the kiln. The strong top light effect makes the face deformed or even ugly on the lens. The director does not shy away from this distortion, nor does he use auxiliary light to dilute the top light effect, or let light and shadow cooperate with the reconciliation atmosphere in the content, as in traditional movies. Instead, it deliberately shows the opposition between visual modeling and content, deliberately uses the top light, and emphasizes the large shadows under the eye sockets, cheeks and cheekbones, thus forming a contrast, suggesting that most of them are in prison and ugly.
Fourthly, the thinking of film modeling is no longer a single picture or a single shot, but the overall thinking of the whole film modeling. According to the overall development of film spirit and emotion, seek the layout of the film on the video. With a little attention, we can easily see that the color of the whole film presents a montage structure. In front of the film, black is the main tone, and the dark cell, dark dirty face and dark execution ground express the depressed atmosphere. The red tone is the main tone in the middle of the film. In that sudden encounter, the baptism of blood, the burning of fire, the outbreak of red light, little by little penetration and radiation, red became an emotional transformation from black repression to red release. At the end of the film, the white tone is the main tone. At this time, all kinds of characters have finished their soul and spiritual journey and found their own home. Some people's material life is destroyed, but their spiritual life lasts forever. So the endless wilderness, bright sunshine and vast sky appeared on the screen. A large number of white tones are the inevitable result of emotional development, symbolizing sublimation and rebirth. The whole film has also experienced the color process from black to red and from red to white.
Fifthly, compared with previous China films, this film can be said to be the most sculptural and shocking. In order to show the national spirit of sharing weal and woe and sharing weal and woe, artists regard modeling power as a clear creative pursuit. They realize that black-and-white contrast is the strongest among all color contrasts, so they plan to create and publish a picture-like black-and-white contrast effect. They also know that they are shooting a disaster land with embers in the fire and few poor villages, which shows the hard struggle on this land, so any bright and jumping colors run counter to this emotional intention. As a result, we can see on the screen that people's clothing is mainly black, white and gray, and all bright colors are avoided on the exterior and interior. In the design of light and shadow layout, indoor use of light and dark areas caused by architectural structures, outdoor use of bright surfaces and shadows caused by strong sunlight, strongly show the beauty of strength. In terms of lens scheduling, there are strong "static pictures" and sculptural characters in the film. For example, eight criminals have ferocious and rude faces. At the end, Wang Jin and Xu Zhili stand in a desolate land. These hard static pictures exist in contrast with dynamic pictures, showing great strength.
The strength of modeling is also reflected in the handling of portraits. In this film, we can't see the beautiful and white characters regardless of the occasion and place. What appeared in front of the audience were the rough skin on the characters' faces, chapped lips, dirty faces in dark cells, twisted and thin bodies in a life-and-death struggle, and worn-out clothes in dim light. These shapes also reflect the power of cruel struggle in a cruel environment.
The visual modeling of "One and Eight" gives full play to its expressive, narrative and lyrical functions. Its strong impact not only shook the film industry in China, but also turned a new page in the history of visual modeling of contemporary films in China.