slow-paced reality-oriented movies in the summer movie file has injected a boost of strength into the market.
For a long time, the split between word-of-mouth and box office in the film market is particularly evident in this type of film. Each social platform that talks about it stubbornly uses its own way of understanding to interpret the film.
So is there a realistic theme that can unify various viewing preferences? The theme of
is family love.
"The end of the sea is the grassland " can be said to be very "scenario" in the Mid-Autumn Festival schedule. Family affection and watchfulness are always the gentlest colors of the Mid-Autumn Festival. But how to be warm but not sensational, recalling instead of complaining, this time the demonstration is the director who has long been known for suspenseful criminal investigation and other marginal themes, Er Dongsheng .
"The End of the Sea is the Prairie" is based on the real event in the history of New China "Three thousand orphans entered Inner Mongolia": under the threat of famine in 1959-1961, orphanages in Jiangsu, Zhejiang and other places were overwhelmed. Under the leadership of Chairman Wu Lanfu, more than 3,000 orphans took the train north to Inner Mongolia, where they were handed over to the local herdsmen for adoption.
As a film with a strong realistic color, "The End of the Sea is a Prairie" starts from the fate of a pair of brothers and sisters separated for decades, and stares at the spiritual predicament hidden in this turbulent era after material scarcity, especially related to blood kinship. difficult choice.
loves across mountains and seas
"The End of the Sea is the Prairie" consists of two stable story lines, one is the way of the elder brother Du Sihan ( Chen Baoguo ) 's family search, the other is the younger sister Du Siheng (Amy / Luo Yichun) Decoration) 's road to Mongolia.
From the past to the future, and from the present to the past, these two completely different feelings have completed an inevitable intersection on the grassland with the development of the plot.
If we say that the essence of Western culture is religion, then Eastern culture is based on "ethics". The so-called ethics originated from the relationship between people. And this kind of relationship between people is shown as two core conflicts in "The End of the Sea is the Prairie".
Du Siheng's separation from his native family, and Du Siheng's gradual integration into the grassland family.
and Eji Sarina played by Masu perfectly serve as a springboard for the connection between the two.
For a child who already has self-awareness, if he wants to integrate into a new family, he cannot avoid the running-in of many problems such as cultural customs, inner emotions, and even eating habits.
But these are actually a problem.
Du Siheng is as smart as her name. The reason why she chose Sarena was not because she "wanted to play with him/her" like other children, but a compromise because she realized that she could not return to Shanghai in the short term.
willfully overturned milk tofu , insisting on looking for his lost towel. Behind these actions is a kind of confrontation brought about by identity barriers. In this family identity problem that many people can empathize with, the suspense of the film and television narrative is no longer whether Du Siheng can integrate into the new family, but what kind of The opportunity, what kind of important demarcation was completed, became the biggest suspense. The existence of
Sarena has facilitated this process very well.
's gentle and delicate mother image is not uncommon on the screen, but to make Sarena three-dimensional, it is not only to complete the role of "mother". To make the story moreA good presentation, Ma Su needs to speak Mongolian throughout the film. As a Han Chinese actor, he must show that Sarena is unfamiliar with Chinese when she is eager to express herself in various situations.
This is not only an actor's sense of belief, but also a pondering approach to life. Restraining the long-standing sense of language intimacy and unconscious performance presentation, this kind of subtractive acting is often more difficult than a strong emotional outburst.
Ma Su choked on the road show and thanked Er Dongsheng for giving her this opportunity, but in fact, this achievement is for all the actors and behind-the-scenes personnel.
The moon shines on the mountains and seas
Du Siheng's growth and transformation, in addition to the tenderness of the mother, there is also a unique concern for men, from her adoptive father Idel ( Ayunga ) and brother Namuhan () Wang Qiang ) .
In the audience's ethical test of the movie, these two male characters fully respect Du Siheng's freedom. When waiting for the characters to make a choice, the audience must also have their own considerations.
Du Siheng tried to escape from the family, returned to Shanghai to find his mother and asked him how to understand this action, how to understand it from the perspective of a third person, to ignorance and self-will, and then to a sigh that connected with the whole era, the rhythm of which is in the narrative. under control.
Er Dongsheng is well aware of the rhythm requirements of commercial films, so while manipulating the two main lines to meet the narrative, he also inserted a number of sub-lines, such as the story of the adopted orphan Ma Zhengyuan ( Ding Chengxin ) , such as what Du Sihan saw and heard on the road to Mongolia.
From an uncompromising point of view, "The End of the Sea is a Prairie" can also be very sharp and ironic. From the first second of abandonment, no amount of warmth is just a cruel coat, the answer that Du Siheng is struggling to find No matter what form it takes, it cannot change this result.
Her biological mother and blood brother owe her a lifetime of debt.
However, this kind of debt is never one-way. Although Du Siheng has learned Mongolian and can accept the taste of goat milk, the efforts of the Sarina family still cannot completely erase the shadow of the original family. She wanted to ask a question in her mind, "so that I can continue to live on the grassland", this sentence is almost the same as what her mother said before she sent it to the orphanage:
"Let it be raised by the government of the orphanage first, and then settle down later. I'll pick you up." The core of
's debts based on family love is to leave compensation to the illusory future and give up the treasure of the present. Leaving secretly will make everyone sad, Du Siheng knows it, and so does her mother.
But what is left in your hand becomes precious only when you lose it.
Family love is like this for everyone. Usually it is a trivial and silent thing. Only when it really disappears in front of you can you feel its preciousness.
At the end of the video, when the white-haired blood brothers and sisters reunited, Du Sihan asked his sister in a trembling voice if she ever hated.
Du Siheng thought about it seriously and replied, "I used to have it when I was a kid..."
At this moment, all love and hate have lost their meaning. When you look back after this storm and count the right and wrong, it is far better than being on the grassland. A long song in memory of two mothers who raised a daughter under the same moon.
