"Bullfighting" is a war-themed film, it did not start from the big picture. Instead of selecting generals and soldiers as the protagonists, it chose the small role of grassroots people, Niu Er, as the key portrayal object. His behavior triggered all The plot does not reflect the damage caused by the war. From this point, it can be seen that the director is good at seeing the big from the small, thinking from the subtle, discovering the essence of life, deepening the theme, and portraying the characters. Many details in the film reflect this. The
movie exists in the details, and the various props and images involved in "Bullfighting" fully reflect this point. Bomb: The Japanese bomb that has not exploded has become an important prop in the film. The repeated appearance of the bomb image represents multiple meanings. Several close-up shots of bombs are given in the film. This arrangement is to reveal that in such a special war age, the cruel reality and barren life always plagued Niu Er, an ordinary farmer who has no armed resistance, thus deepening "Bullfighting" As the theme of the war-themed film, it also pave the way for the later article to arouse the resistance of Niu Er. Towards the end of the film, Niu Er exhausted all his energy to carry the bomb and ran as hard as he could. This represented that the Chinese people who were oppressed by the war would rise up and resist, and it was unreasonable, heralding the victory of the war.
cricket: Although the cricket is a very small and insignificant creature, it appears in inadvertent pictures several times. This is precisely the director's meticulous setting and can be found intentionally. The first appearance of the image of crickets originated from the accidental discovery of the Japanese soldier Shibuya, which was called a plaything by the Japanese soldiers, with a certain irony, indicating that Japan will surely fail and China will surely win. The image of cricket also adds to the comedy effect of the film. The two eight-way attacked quietly, and the Japanese soldiers ran out of the room, and then the crickets also ran out of the room, then the camera turned to the cow and hummed slightly. The transition of the camera between cows and crickets adds to the comedy effect of the film, as well as a satire of Japanese soldiers. In addition, the cow and Niu Er escaped many times in the film, and at the end of the film, the cow and Niu Er lived as "male farming and female weaving", and the cry of crickets also appeared. Like them, the cricket is only one of the few survivors in the village. Its appearance adds to the film's black humor effect, allowing the audience to feel more deeply the harm and disaster caused by the war to the innocent people.
Silver Bracelet: The first time the silver bracelet entered the audience’s sight was at the beginning of the film. Niu Er saw Jiu’er's hand held high in the dead body, which paved the way for the following disclosure of the relationship between Niu Er and Jiu’er. Foreshadowed. For Niu Er, the silver bracelet is an ancestral treasure in the family, representing the traditional Chinese family concept. For Jiu'er, the silver bracelet represents the love he promised to Niu Er. Jiu'er asks Niu Er for the silver bracelet, which can also reflect that Jiu'er is not bound by traditional concepts and her boldness. Spicy personality traits. The intervention of the silver bracelet makes the love line of the film more full-bodied, and the love of the two poor peasants led by Yin Xiaozi during the arduous war of resistance appears simpler. Through a series of detailed incidents, such as Niu Er's refusal to give the bracelet and the discovery of the hand of the person wearing the bracelet in the corpse, the film very cleverly and concisely brings out the simple rural sentiment between Niu Er and Jiu'er. The silver bracelet symbolizes the simple and difficult love between two people in a special era. In the
film, in addition to the repeated application of many props, the director also attaches great importance to the description of the detailed plot, and sees the big from the small.
Details: The movie finally puts "The Tomb of Niu Er" as the "Tomb of Niu"-intriguing, explaining that Niu Er and Jiu Er will be together to the death, sublimating the difficult love tragedy of the war years. There are many scenes of Niu Erjao watching the cows walking back and forth on the edge of the cliff in many places. The repeated emphasis of this scene conveys a grand meaning: the edge of life, Niu Er is surviving in troubled times, seeking a kind of peace. And liberation. The
film has always used dark tones from beginning to end, giving people a feeling of heavy depression, but the director put Jiuer in a red padded jacket. This detail has undoubtedly become another highlight of the film's revealing themes and portraying the characters. Jiu'er's red cotton-padded jacket is the only bright color in the picture. We can't help thinking of the red cotton-padded jacket worn by the mother when she was young in "My Father and Mother", but these two characters are completely different. Although Jiuer was ostracized and despised, she lived stubbornly in a red flowered jacket. The red color is showing her kind of "not afraid of the sky, not afraid of the earth" heroic spirit and hearty character. In addition, a touch of red in the gray picture symbolizes that the democracy that Jiuer pursues will eventually be realized; it symbolizesThe poor peasants' enthusiasm for life and desire for love; symbolizing the victory of the Chinese War of Resistance.
"Bullfighting" is a movie constructed with a lot of details, and a powerful work of "small structure and big thinking". The director Guan Hu is good at seeing the truth from the subtle, and looking for life and harmony from the most insignificant images. The truth of death, he interprets the human nature of ugliness and beauty in a special era by "seeing the big from the small", and has become a typical representative and banner of domestic movies.
