Wang Xiaoshuai once said that movies are not only entertainment, but also need to have keen tentacles, keep abreast of the pulse of society, and leave a unique film language text for the era in which we live. In "Seventeen-year-old Cycling", he did it. There is no need for extra lines to guide the plot. It seems to be the struggle of adolescents. In fact, the film has deeply revealed the reality of life. Migrant workers are incompatible with the city, and the actual distance between the poor and the rich in the city. Because someone touched, I saw the difference, because someone wanted to blend in, I saw the contradiction.
"touches" the life you like, represented by Hongqin played by Zhou Xun and Xiaoxiao played by Gao Yuanyuan. The role director of Hongqin is very bold, seemingly casual but intentional. Although she didn't say a single line until the end of the scene, she learned that her name was Hongqin through the mouth of the hostess and the peeping man. She was a nanny and liked to wear her master's clothes. The audience realized that Hongqin was a vain person. She liked the life of the rich in the city. She also imagined that she was in such a glamorous beauty every day, and then secretly relied on her clothes to disguise her appearance to satisfy her vanity for a while. She stepped on her high heels and slapped her arrogant appearance, dressed in a dress and shook her beautiful back, she really fooled everyone, this is the success of the role. The reality is that both men and women will have illusions about a higher life, but Hongqin never chased and worked hard. Self-deception can only satisfy her that she stops at the level of touching the life she likes. Xiaoxiao is an authentic courtyard girl. The life she likes is to do things that many girls admire. First observe from the surface and then deliberately contact each other. After discovering the differences, she will also withdraw, because she feels like that. Life has capital that only needs to be touched without having to go deep. Although she is not a migrant worker like Hongqin, as the story progresses, her material tendency gradually becomes obvious. When Xiaojian has a cool bicycle, Xiaoxiao will take the initiative to approach him, and Xiaojian will be hurt by howling. His self-esteem turned his head and approached Dahuan, who was rich and could play cars, and the pure and beautiful image could not erase the regret in the audience.
"Rongren" yearning life, the protagonists Xiaogui and Xiaojian are representatives. Xiaogui is recognized as stubborn, stubborn, and awkward. Xiaogui excitedly rode high-end bicycles through the streets and alleys in Beijing to deliver express delivery. He carefully wrote down his own efforts and hopes in his notebook. He felt that as long as he continued to do so, he could integrate into the life of Beijing and stabilize step by step in the big city. Therefore, the meaning he gave to the bicycle is survival, which can make him cling to his inner hope. The loss of the bicycle is not only the plot need but also the sublimation of his feelings. He never compromises and repeatedly emphasizes that "the car is mine". His feelings came to a climax and were released when Xiaojian was besieged and grabbed the car by a group of people. He crouched on the car and yelled. I believe that when the audience saw this dark humorous scene, they wanted to laugh but couldn't help but feel sad. Little people staying in the big city will always have a collapsed past that you can't imagine. In contrast, Xiaojian is a lively and enthusiastic teenager, and he can feel his ever-expanding joy in the brisk and bright scenes of riding alone.
If you have a bicycle, you can play with your friends and learn about driving skills; if you have a bicycle, you can satisfy your interests and have fun alone at night; if you have a bicycle, you can accompany the girl you like home and feel excited. Without a car, there would be no such a life. With a car, I was integrated into the circle of friends and close to the line of love. The brighter the front, the darker the back. Xiaogui came to the house to identify the bicycle. Xiaojian felt that his life would end with the discovery of the bicycle, and the accusation against his father finally broke out with long-repressed dissatisfaction. The film begins to turn. During the conflict, the audience's misunderstanding of Xiaojian's stealing the car disappeared. Everyone learned that Xiaojian bought the car in the second-hand market. In addition, I want to say that I also rely on bicycles to run in the life I am looking forward to, but Xiaojian has more affection than Xiaogui. In the days when he exchanged bicycles with Xiaogui for a day, Xiaojian gradually accepted Xiaogui, his polite hand out to Xiaogui is the beginning of a heavy relationship. The ending is even more obvious. After the "hand-knife", he returned the car to Xiaogui and said, "The car will be yours in the future." Although it was a kind of letting go for Xiaojian, the tense hutong chase followed. It is also true that Xiaogui was allowed to leave. Xiaogui was beaten by an associate who had been misunderstood as Xiaojian, but he said "It's none of my business". Director
uses characters to deepen the theme, and the way to make the characters three-dimensional is to "understand by themselves, without deliberately, without explaining", many details can be experienced: like the ones given by Hongqin and Xiaojian"Misunderstanding", the performance of two gangs, etc. Xiaojian is a group of fake hooligans who are really righteous. Ask Xiaogui if the threat of force is not enough. Then try to understand and move with emotion. In fact, he did not do any substantial harm to Xiaogui. They also discussed it for a day. Method of bicycle ownership. Dahuan’s group of people are real hooligans and fake arrogance. The last person who has been destroying the bike actually didn’t dare to hit people but wanted to join Dahuan’s, so he simply vented at the bike. In the end, Xiaogui took his bicycle and walked across the road. The bustling environment has nothing to do with him. It can be said that he touches life in Beijing every day, but he has no sense of integration or belonging. You don't have to deliberately render the result, and the audience can see it.
"Small Times" and "To Our Dying Youth" are not everyone’s youth. Many people’s youth is not bloody or dazzling, but when you see "Seventeen-year-old Cycling" you will say youth with conviction. That's it, everyone can find the shadow of their own past. This movie is in line with the consistent style of director Wang Xiaoshuai. He is good at digging out the themes of ordinary people’s lives and can see more of the daily life. When there is a spring breeze and a horseshoe, there is a leak in the house. The most important thing is going down.
