This film is very rare, and both my father and I like it very much. I have been in America for five years, and I am far from my parents. My father is a very old-fashioned and traditional person. One day, I said on WeChat that I liked the film "Piano of Steel" very much, and I felt that all the good movies were buried. As a result, my father actually replied to me that he also liked the film very much and felt very moved after watching it.

It suddenly occurred to me that perhaps what this film should cherish more is this unspeakable "synaesthesia", which has connected two generations in China's social progress and change. And gave their parents, the glorious generation of the past, the warmest pity.

Perhaps it is an elegy of the past in the industrial age, which looks very sad.

Personally, I think what impressed me most about this film is the arrangement of several scenes, which is very artistic on the stage of drama. The arrangement of the background even exceeds the performance of the plot and characters in the film.

This is similar to edward hopper's description of lost time in the United States. The picture of the times in Piano Music is full of nostalgia and appears in many scenes of the film.

At the beginning of the film, a man and a woman stood straight in front of the camera. They looked in different directions, but they didn't turn to look at each other, even though they were talking to each other. Chen Guilin and his wife Xiao Ju appear in this way, which not only reflects their divided emotional relationship, but also creates a dramatic conflict on the screen.

Xiao Ju asked him, "Do you know what happiness is?"

Chen Guilin replied, "Don't scare me with happiness."

The sketch-style dialogue style is full of strong northeast flavor, but it also fits the visual sense of this drama.

Two huge factory chimneys rise slowly in the foreground of the picture. On the one hand, they correspond to the visual composition of a man and a woman in form, and achieve a harmonious beauty in perception. At the same time, they psychologically allude to the background and age of the story, as well as the psychological emotions and story trends generated in this environment.

The chimney with sparse smoke rings looks at the men and women in this land like a local fairy, and the joys and sorrows of each family are in its eyes. But it just looked silently and didn't make any comments. Because it knows that it has been eliminated by the times, the laughter or tears experienced by people on the land are only the only process in the transition period of the times. This process is not good or bad, but can only be seen from a distance, read more warmth, and try to resolve the bitterness of tears with laughter.

The depiction of amorous feelings paintings in another era happened before Chen Guilin visited the princes. He came to diving pool to fry fish and wanted to ask Wang Gong for free fish as a gift.

Personally, I have a strong feeling about this picture. As people born in the late 1980s, we didn't have a chance to see such a scene with our own eyes, but this activity of frying fish and eating fish is full of parents' descriptions of the previous generation.

My grandfather is also a worker in a metal smelter. In my mother's memory, the story of my father frying fish with his children in the lotus pond to subsidize the food at home is both a sad past and a sweet memory.

The fish-frying pond in Chen Guilin is overgrown with weeds and lifeless, which seems to be the end of this era of relying on the weather for food. The natural environment here is dying. It seems that in a few years, the industrial pollution brought by economic development will eliminate the fish in this pond, and even whether there will be a pond here is a problem. Chen Guilin stood by the pond, covering her ears and smoking, looking at some small fish with white bellies floating on the water, as if thinking about something, but maybe she didn't think of anything. In the foreground, a green leather train whizzed past with thick smoke on the cement viaduct, breaking this seemingly calm picture. The era of relying on the sky to eat has been completely replaced by the era of "getting something for nothing".

Soon, the survival rule of this society will no longer be that you can get rich by working, but that those who rely on Qian Shengqian or take advantage of the times will occupy vested interests. Chen Guilin watched the dead fish and the death of his working age.

This description of the industrial age in the past actually appears in every minute of the film. Many times, the director even breaks the narrative convention by destroying the picture, in order to highlight some distant and silent things. In Piano of Steel, it is not only the men and women in the foreground who tell stories and express their feelings, but also the houses, streets and passers-by in the middle scene, as well as the green leather trains and silent chimneys in the foreground. The design of these lenses is very particular, sometimes the content is completely centered, and sometimes the characters appear in the golden point of the lens. This composition design, which is close to the stage play, makes the style of that era perfectly presented in one picture after another. It doesn't even look like a movie, but more like a dynamic imagination of an old yellowed photo of Zhang Zhengui.

Sometimes, in some action scenes, the characters even run out of the movie screen, but the creator's concern and nostalgia for the background of the times even goes beyond the description of the relationship or action of the characters. In many transitions, the performance of the lens to the background and environment has become the main task. It seems that compared with the contradictory relationship between the characters' love and hate, Seimi Zhang, the director, expressed more nostalgia and reluctance to leave for that era and environment in his films.

The camera stayed there for a long time, staring at the empty camera without characters, looking at the distant background with deep affection and watching the disappearance of that era.

Looking at Guo Siniang's Little Times series, the box office has exceeded 654.38+0.6 billion, and I feel sad for China movies.

In the words of Chen Guilin's evaluation of his ex-wife Xiao Ju in the film, "She finally lived her dream life, and got something for nothing".

This also applies to the good times of China movies.

Good movies are not sold, and brain-dead directors stand to make money.

The film "Piano of Steel" was shot when the director borrowed money everywhere, the crew saved money everywhere and the actors paid for it themselves. Seimi Zhang finally made his own piano of steel on 20 10, and won the grand prize at the international film festival, but he didn't make any money when he entered the domestic cinema. Like Chen Guilin, Seimi Zhang finally realized the social reality and the power of capital.

At the end of the film, the built piano music is slowly hoisted out of the workshop, which looks like a rainbow and has the general temperament of the king of the forest. Although the pop-up sound is different from the pitch and timbre of the advanced piano, the piano music is completed like a dream. As a result, after the completion of this passionate career, my daughter still failed to stay; In the realization of passionate literary feelings, the audience still did not use the box office to retain the film. In the legend that the box office in the domestic film market exceeded 10 billion, the piano made of steel, like the working-class era, was quickly eliminated by the market.

For China films, it is indeed a great era with a prosperous market and great momentum. But this is definitely not the best time for a non-mainstream and non-commercial work like the Piano of Steel.

I don't know how director Seimi Zhang will feel about his passion for Waterloo, but in the movie, Chen Guilin found that after stealing the piano failed, he didn't choose to run away, but chose to play a romantic song on the piano alone on a snowy night. This extremely unreasonable, illogical and absurd behavior may be a slogan, a feeling and an ideal.

Not only Chen Guilin, but also Seimi Zhang is sitting here playing football for himself.

Childhood memories and my parents' past.

This film is very rare, and both my father and I like it very much. I have been in America for five years, and I am far from my parents. My father is a very old-fashioned and traditional person. One day, I said on WeChat that I liked the film "Piano of Steel" very much, and I felt that all the good movies were buried. As a result, my father actually replied to me that he also liked the film very much and felt very moved after watching it.

It suddenly occurred to me that perhaps what this film should cherish more is this unspeakable "synaesthesia", which has connected two generations in China's social progress and change. And gave their parents, the glorious generation of the past, the warmest pity.

Perhaps it is an elegy of the past in the industrial age, which looks very sad.

Personally, I think what impressed me most about this film is the arrangement of several scenes, which is very artistic on the stage of drama. The arrangement of the background even exceeds the performance of the plot and characters in the film.

This is similar to edward hopper's description of lost time in the United States. The picture of the times in Piano Music is full of nostalgia and appears in many scenes of the film.

At the beginning of the film, a man and a woman stood straight in front of the camera. They looked in different directions, but they didn't turn to look at each other, even though they were talking to each other. Chen Guilin and his wife Xiao Ju appear in this way, which not only reflects their divided emotional relationship, but also creates a dramatic conflict on the screen.

Xiao Ju asked him, "Do you know what happiness is?"

Chen Guilin replied, "Don't scare me with happiness."

The sketch-style dialogue style is full of strong northeast flavor, but it also fits the visual sense of this drama.

Two huge factory chimneys rise slowly in the foreground of the picture. On the one hand, they correspond to the visual composition of a man and a woman in form, and achieve a harmonious beauty in perception. At the same time, they psychologically allude to the background and age of the story, as well as the psychological emotions and story trends generated in this environment.

The chimney with sparse smoke rings looks at the men and women in this land like a local fairy, and the joys and sorrows of each family are in its eyes. But it just looked silently and didn't make any comments. Because it knows that it has been eliminated by the times, the laughter or tears experienced by people on the land are only the only process in the transition period of the times. This process is not good or bad, but can only be seen from a distance, read more warmth, and try to resolve the bitterness of tears with laughter.

The depiction of amorous feelings paintings in another era happened before Chen Guilin visited the princes. He came to diving pool to fry fish and wanted to ask Wang Gong for free fish as a gift.

Personally, I have a strong feeling about this picture. As people born in the late 1980s, we didn't have a chance to see such a scene with our own eyes, but this activity of frying fish and eating fish is full of parents' descriptions of the previous generation.

My grandfather is also a worker in a metal smelter. In my mother's memory, the story of my father frying fish with his children in the lotus pond to subsidize the food at home is both a sad past and a sweet memory.

The fish-frying pond in Chen Guilin is overgrown with weeds and lifeless, which seems to be the end of this era of relying on the weather for food. The natural environment here is dying. It seems that in a few years, the industrial pollution brought by economic development will eliminate the fish in this pond, and even whether there will be a pond here is a problem. Chen Guilin stood by the pond, covering her ears and smoking, looking at some small fish with white bellies floating on the water, as if thinking about something, but maybe she didn't think of anything. In the foreground, a green leather train whizzed past with thick smoke on the cement viaduct, breaking this seemingly calm picture. The era of relying on the sky to eat has been completely replaced by the era of "getting something for nothing".

Soon, the survival rule of this society will no longer be that you can get rich by working, but that those who rely on Qian Shengqian or take advantage of the times will occupy vested interests. Chen Guilin watched the dead fish and the death of his working age.

This description of the industrial age in the past actually appears in every minute of the film. Many times, the director even breaks the narrative convention by destroying the picture, in order to highlight some distant and silent things. In Piano of Steel, it is not only the men and women in the foreground who tell stories and express their feelings, but also the houses, streets and passers-by in the middle scene, as well as the green leather trains and silent chimneys in the foreground. The design of these lenses is very particular, sometimes the content is completely centered, and sometimes the characters appear in the golden point of the lens. This composition design, which is close to the stage play, makes the style of that era perfectly presented in one picture after another. It doesn't even look like a movie, but more like a dynamic imagination of an old yellowed photo of Zhang Zhengui.

Sometimes, in some action scenes, the characters even run out of the movie screen, but the creator's concern and nostalgia for the background of the times even goes beyond the description of the relationship or action of the characters. In many transitions, the performance of the lens to the background and environment has become the main task. It seems that compared with the contradictory relationship between the characters' love and hate, Seimi Zhang, the director, expressed more nostalgia and reluctance to leave for that era and environment in his films.

The camera stayed there for a long time, staring at the empty camera without characters, looking at the distant background with deep affection and watching the disappearance of that era.

Looking at Guo Siniang's Little Times series, the box office has exceeded 654.38+0.6 billion, and I feel sad for China movies.

In the words of Chen Guilin's evaluation of his ex-wife Xiao Ju in the film, "She finally lived her dream life, and got something for nothing".

This also applies to the good times of China movies.

Good movies are not sold, and brain-dead directors stand to make money.

The film "Piano of Steel" was shot when the director borrowed money everywhere, the crew saved money everywhere and the actors paid for it themselves. Seimi Zhang finally made his own piano of steel on 20 10, and won the grand prize at the international film festival, but he didn't make any money when he entered the domestic cinema. Like Chen Guilin, Seimi Zhang finally realized the social reality and the power of capital.

At the end of the film, the built piano music is slowly hoisted out of the workshop, which looks like a rainbow and has the general temperament of the king of the forest. Although the pop-up sound is different from the pitch and timbre of the advanced piano, the piano music is completed like a dream. As a result, after the completion of this passionate career, my daughter still failed to stay; In the realization of passionate literary feelings, the audience still did not use the box office to retain the film. In the legend that the box office in the domestic film market exceeded 10 billion, the piano made of steel, like the working-class era, was quickly eliminated by the market.

For China films, it is indeed a great era with a prosperous market and great momentum. But this is definitely not the best time for a non-mainstream and non-commercial work like the Piano of Steel.

I don't know how director Seimi Zhang will feel about his passion for Waterloo, but in the movie, Chen Guilin found that after stealing the piano failed, he didn't choose to run away, but chose to play a romantic song on the piano alone on a snowy night. This extremely unreasonable, illogical and absurd behavior may be a slogan, a feeling and an ideal.

Not only Chen Guilin, but also Seimi Zhang is sitting here playing football for himself.

Finally, it is appropriate to quote Wang Gong's speech to two big chimneys in the play to describe this nostalgia for the lost idealism and glorious working class. These words can be seen as a farewell to the imprint of life in the industrial age, or as a monologue about people's "real" life, and finally become the elegy of the beautiful but not box office movie "Piano Music":

"These two big chimneys, in my opinion, are the memories of some people growing up and the coordinates of some people going home, but they are more like two old friends I forgot. I don't know whether I should try my best to keep them or watch them leave silently. Suddenly there was a sense of sadness. I seem to have something to say, but I don't know what to say Time flies, social changes, and now the development of the times requires them to leave. We still have to try to do something. If we succeed, it will become a beautiful scenery; If we fail, they will also become beautiful memories. "

Finally, it is appropriate to quote Wang Gong's speech to two big chimneys in the play to describe this nostalgia for the lost idealism and glorious working class. These words can be seen as a farewell to the imprint of life in the industrial age, or as a monologue about people's "real" life, and finally become the elegy of the beautiful but not box office movie "Piano Music":

"These two big chimneys, in my opinion, are the memories of some people growing up and the coordinates of some people going home, but they are more like two old friends I forgot. I don't know whether I should try my best to keep them or watch them leave silently. Suddenly there was a sense of sadness. I seem to have something to say, but I don't know what to say Time flies, social changes, and now the development of the times requires them to leave. We still have to try to do something. If we succeed, it will become a beautiful scenery; If we fail, they will also become beautiful memories. "