film "Sweet Honey" uses mainland China, Hong Kong, and the United States as clues to tell about the ten-year emotional entanglement between migrant girl Li Qiao and migrant worker Li Xiaojun. But just as the song "Sweet Honey" is not just a love song in a simple sense, it contains complex emotions that the prodigal son of the mainland who went to work in Hong Kong has nostalgia for his hometown but does not want to admit it. The movie "Sweet Honey" is not only a beautiful love story, but also a microcosm of the changes in Hong Kong society over the past ten years. It is an elegy for the times cast by Hong Kong, which is mixed between the Chinese mainland and the West. As for the handling of sweet love in this drifting age, director Chen Kexin relies on rich audiovisual language to show it vividly and vividly.
sound symbolized
The name of the film "Sweet Honey" comes from the song of the same name by Teresa Teng. The three reverberations of this song in the film correspond to three moods respectively. The first time was when Li Qiao sat behind Li Xiaojun’s bicycle and walked through the streets of Hong Kong. This scene has now become a classic moment of nostalgic love in the hearts of many people. When the two are in love, the passion of the song is conveyed through the screen. The second time when the stock price plummeted and Li Qiao had to work as a massage girl, Li Xiaoche sang "Sweet Honey" to comfort her, mixed with a trace of sentimental sentiment of a wandering away from home. At the end of the second time, the two met on the streets of New York. At this time, "Sweet Honey", as a symbol of their love, gave this love story the ultimate romance and legendary color.
In addition, "Sweet Honey" implies that the wanderers have complicated feelings for the motherland. They love Teresa Teng, but they dare not buy the album to listen to them, fearing to expose themselves from mainland China. Teresa Teng and her "Sweet Honey" are like the complex feelings of the people who go to their hometowns that are indelibly interspersed throughout the film. The ideographicalization of
color The overall narrative of
"Sweet Honey" is circular, and the color corresponds to it and forms a ring. At the beginning of the film, Li Xiaojun stepped off the train in the run-down and even mixed with a bit of bleak black and white colors, and he came to Hong Kong from the mainland. The film sets up a cascade space for us here, that is, the Mainland-Hong Kong-America. Mainlanders come to Hong Kong and yearn for this city, but Hong Kong people regard the United States as a paradise. No matter what kind of wage earners, migrant girls learn English, and chefs yearn to go to the United States. As the protagonists Li Qiao and Li Xiaojun walked off the train from the mainland and gradually moved towards the prosperous Hong Kong society, the color of the film became more and more saturated and bright, until New York reached its peak. Li Qiao ran on the streets of New York chasing Li Xiaojun's figure. What he presented was just like what the deporting police said, a paradise full of opportunities.
At the beginning of the movie, the color of the film returns to the original black and white, but as the plot unfolds, the protagonist drifts through the seemingly flashy colorful world, and the audience suddenly realizes the simplicity of black and white. It seems that black and white is the sweetest color. . The narrative of the film did not disappoint the audience. The two finally hinted that they would return to the mainland. After ten years of missing it, returning to the beginning, just like Nanke Yimeng, but fortunately everything is still too late. Freehand
close-up
At the same time, "Sweet Honey" is a very freehand film. Its freehand brushwork is clearly conveyed to the audience through close-ups, and the emotional resonance brought by close-ups in the film abounds.
Whether it is Li Qiao, who has become a memory of a generation, sitting on Li Xiaojun’s swaying foot behind his single body, or the excited or lonely face in front of the cash machine for two times, or even the portrait of William by the mirror of Aunt Li Xiaojun, it’s all through the close-up of Director Chen Kexin. The memories of the times conveyed, people who grew up with this kind of memory can always find themselves in the film.
The two close-ups around the Leopard brother played by Zeng Zhiwei are so embarrassing. One is the Mickey tattoo specially tattooed to make Li Qiao happy, which is the delicate side of this perhaps vulgar and violent man. At the end, Li Qiao recognizes the unrecognizable Leopard with Mickey's tattoo. At this time, Mickey's tattoo is a lonely farewell for Hong Kong people in the United States represented by Leopard.
The world is unpredictable, but fortunately everything is still too late, and the age of wandering, fortunately we never miss each other in the end, this is the most beautiful "Sweet Honey".
