The most anticipated new Chinese film of the year must be "Jiang Yuan Lane".
has been hotly searched from the beginning to the completion of filming. How should
be ranked? Fans from all walks of life have been arguing for a long time.
There are also rumors that Yang Mi and Zhao Liying are competing for the second female lead, which is a hot topic.
Zhang Ziyi couldn't help but said:
shut up idiot!
But compared to these gossips.
The most eye-catching thing is the large-scale story:
An adaptation of the strange case "The Murder of Husband in Jiangyuan Nong" in Shanghai during the Republic of China. The wife hacked her husband to death at home, cut his body into 16 pieces and packed it in a suitcase. When he was about to transport it out, because The blood in the suitcase dripped along the cracks in the floor, and was discovered by the residents downstairs, whereupon the crime occurred.
In the trailer posters and movie trailers for Peter Chan's "Dragon Garden", "blood" is not shy about making "blood" the most eye-catching element here.
Friends who have watched too many old movies from Hong Kong and Taiwan may have noticed that this kind of story is somewhat familiar. It seems that they have seen it before, but they also seem not to have seen it before.
is correct.
As early as 1986, the story of "Jiangyuan Nong" has been made into a movie:
Killing the Husband
Based on Li Ang's original work "Killing the Husband", written by Wu Nianzhen, produced by Xu Feng, directed by Zeng Zhuangxiang, and starring Xia Wenxi.
But it is different from the extensive social effect of the original case.
The focus of "Killing Husband" lies within the case.
When I watched this movie, I was probably attracted by the scale.
but many years later.
When we look back at movies like this, we will find that behind the so-called "large scale", there is actually a hidden tragedy.
We dare not forget it to this day.
01
Killing Husband
The story of "Killing Husband" is a novella adapted by Li Ang based on the case of "Jiang Yuan Nong".
She moved the story that happened in Shanghai to a remote village in Taiwan.
Girl Lin Shi (played by Xia Wenxi) has just turned 20 and was persuaded by her uncle and aunt to marry Jiang Shui, a pig butcher she had never met.
Without parents, she landed like duckweed in this hostile family.
On their wedding night, after her husband took possession of her with brute force, he handed her a bowl of rice and then fell asleep.
The camera deliberately separates the two of them and frames them in a small window, like a cage, and it also seems to have made a judgment for their future lives. Life and death are clearly differentiated.
Her husband did not intend to let her go just because of her fear of having sex. Instead,
regarded her as a plaything.
No matter day or night, this kind of nightmare will always happen to Lin Shi again and again.
In addition to the physical abuse, Jiang Shui did not regard Lin Shi as his wife.
She is a free laborer, a live-in nanny, and a prostitute.
When he was in a good mood, he threw a few coins to Lin Shi, saying they were her money. The coins hit the ground with a loud thud.
However, Lin City does not know what exactly this "open bud" money is.
feels happy because he has money.
She secretly hid the few copper coins in the painkilling ointment.
Holding these few dollars, she felt an unprecedented happiness.
It hurt, so I endured it.
The good times are short-lived.
There are no secrets in this village. The story of Lin Shi being abused by her husband spread from person to person.
But at that time, how did everyone discuss domestic violence, even among women?
said she was promiscuous, immodest and an embarrassment to women.
Only then did Lin Shi understand that his miserable situation was not sympathized with, but in the eyes of many people, his "shouting" in pain became the meaning of "feeling good".
Afterwards, when Lin Shi was abused by her husband again, she remained silent and gritted her teeth to endure it.
The husband felt that the silence of this "toy" prevented him from showing his manliness.
The more stubbornly she remained silent, the more wantonly he tortured her physically. In the end, he didn't even give her food to eat.
Beatings were commonplace. When she went out to look for a job, her husband found out and was beaten;
bought ducks with the coins she saved and wanted to raise them in exchange for money, but was beaten again;
fainted on the roadside and was rescued by a neighbor. After being beaten, she was beaten again;
In order to punish her, her husband took her to the pig killing factory and threw the hot pigs that had just been slaughtered into the water on Lin Shi, who was so frightened that she fainted.
Lin Shi became delirious and could no longer resist her husband.
After another rape, Lin Shi looked at the butcher knife in her husband's hand under the moonlight.
The moonlight is dense.
The sword is cold and cold.
This knife was suddenly dyed red at night...
02
Kill Her
When "Killing My Husband" was filmed, actor Xia Wenxi was not yet 20 years old.
But you can already see good expressiveness.
An obvious feature is that the character of Lin Shi is not as passionate and tense as Xia Wenxi's other movies, such as "The Unbridled Girl of the Tang Dynasty" and " Fiery Youth ".
in "Killing My Husband".
She is almost an expressionless woman who is pushed forward by life. She often lowers her head and glances away.
Why?
Because she grasped what women like Lin Shi had in common in that era - being content with the status quo and having enough food and clothing was the greatest blessing.
In the novel "Killing My Husband", Lin Shi is satisfied with his life after getting married. He has enough food to eat and not too many housework. Although he has to endure physical abuse, it is better than going hungry.
Lin Shi got up hurriedly and went out to get a drink of water. Seeing the bright afternoon sunshine outside the house, he was suddenly surprised to think that he was lucky enough to take a nap during the day.
Her thoughts on her life are very different from what we now call "female consciousness".
When the lowest bottom line of "food and clothing" has not been touched.
She is willing to continue to live in this kind of life.
Because she has seen worse life.
When she was a girl, she witnessed her mother acquiescing to a man raping her just for a bite to eat.
My father died early, and the family had no source of income.
Even if a mother's chastity is maintained diligently, she cannot keep food.
When her mother was discovered by her uncles and brothers in the clan, the men beat her up again. In desperation, her mother chose to commit suicide and end her life of suffering.
The best way for a woman to learn to be obedient is to see her mother defend the "shackles" on her body with her life.
When she held the knife that her mother had inserted into her belly, she also "killed" a part of her own life.
Those who are rebellious, egoistic, and have the desire to pursue happiness.
together, have disappeared into the thought of "surviving".
Therefore, when Lin Shi once again felt the threat to his life in his marriage, the insecurity caused by hunger, and the insults from his husband, he never even let Lin Shi's mother go - he cursed and cursed. When the earth wants to "fuck your mother".
All Lin Shi’s terrible memories of his childhood came back to him again.
She was afraid that she would become what her neighbors called "a slut like her mother" and that she would be abused day and night.
What she is more afraid of is finding out that she still has no choice but to follow the path of her mother.
She chose to kill.
The first thing Lin Shi did after killing her husband.
had a full meal.
This detail shows that Lin Shi did not kill her husband for revenge, but to survive.
It is written in the novel:
brought a few more bowls of food for worship, and ate it suddenly by the stove under the blazing fire, until his throat was filled with food, and his belly was very full, Lin Shi Holding the warm stove feet, he fell into a deep, dreamless sleep.
She will finally stop being hungry.
03
Them who were not killed
Although director Zeng Zhuangxiang is a member of Taiwan's New Cinema (participated in Edward Yang's "One Day at the Beach" and co-directed "My Son's Big Doll" with Hou Hsiao-hsien).
"Killing My Husband" is actually not a movie that discusses social reality issues in depth.
It does not use too much text to understand why the pig butcher Jiang He is such a violent and bloody person. It also does not put too much effort into a profound ending that allows the audience to reflect on the persecution of women in this society.
It is actually a work that is very consistent with the style of "odd case" movies.
is simple and straightforward.
Even at the end of the novel and the movie, this "strange case" is still viewed from a third party's perspective, and there are many speculations that Lin Shi's motive for killing must be an adulterer and an adulterer who conspired to kill.
This may be the only reasonable explanation for women killing their husbands in that era.
but.
I don’t know if you have noticed a detail.
In the middle of the concept poster of "Jiangyuan Lane", on the bloody newspaper, there is this small line of words:
"Zhan Zhoushi and Pan Jinlian".
After the case of Zhan Zhou’s murder of her husband, many female writers and poets paid enthusiastic attention to this case.
Writer Su Qing analyzed Zhan Zhou's family background and her husband's attitude after marriage, and wrote an article "Defending Husband Killers", calling on the government to "save people under the knife". She wrote: "However, she is A woman with an old mind who is used to watching Shaoxing operas like "Murder Report" has only two options, either suicide or murder!"
Later, the female poet Guan Lu wrote "Zhan Zhoushi and Pan Jinlian" "Article, the content is to defend Zhan Zhou's crimes.
In it, she compared the experiences of Zhan Zhou and Pan Jinlian. They were both "surviving" - "But there was a man standing behind them, threatening them with a knife, saying: 'Don't live!' Here Under such coercion, they had no choice but to snatch the knife from their hands and kill the person holding the knife for the sake of their own lives."
Interestingly, under these two articles, public opinion about the case set off a huge wave, Did Zhan Zhou have an adulterer? When she killed her husband, was she really oppressed by her husband and went to a very extreme way? If the "adult woman" really deserves to die, then why is the "adulterer" not sentenced?
Under the increasing discussion surrounding Zhan Zhou, it is more like two progressive women, Su Qing and Guan Lu, who began to sow the seeds of "female consciousness" in the society at that time.
What is gratifying is that this public opinion really changed the fate of the Zhanzhou family.
Her case was commuted from the death penalty to 15 years in prison. Finally, after serving the sentence of reform through labor, she was introduced to someone and remarried, and she also had a relatively satisfactory and happy life.
Thirty-two years after the case of "Killing Husband in Jiang Yuan Nong", Li Ang saw this story at Bai Xianyong's home and wrote the novella "Killing Husband".
By 2024, the case of "Jiangyuan Lane" has been made into a movie again, nearly 80 years have passed.
These 80 years have been enough for a young girl to grow into an old man.
However, a similar fate seems to be happening again and again.
"Zhan Zhoushi" still appears from time to time in social news.
I won’t go into detail, just talk about the news I saw today.
Last year, a new trend emerged in a street murder case of his wife:
The man asked the deceased’s sister to write a letter of understanding for the sake of the child.
However, according to the description of the deceased’s sister:
The sister was subjected to domestic violence by her ex-husband for ten years;
filed for divorce, but was killed in the street during the divorce cooling-off period;
This was a "pre-publicized murder", the man said in WeChat He has long threatened to kill someone and "call the police to arrest me if you can."
It seems that there is still no way to stop this blatant violation, and the only way to end it is death.
Could it be that her situation today is still the same as the Zhan Zhou family in Jiangyuan Nong back then?
- "She has only two options, either suicide or murder!"
In the past 80 years, from newspapers and periodicals, to novels and stories, to movies, stories like Jiangyuan Nong have been discussed.
"Killing husband", from a sensational social case.
has become a parable across the ages:
If there is no change, it will only be a dead end.
of course.
We don’t want to see “strange cases” and “blood” in these movies, and use these gimmicky words to satisfy our curiosity. As Su Qing said in her article, "The blood and the corpse in the box are too much like a detective novel, and the murder of a husband is completely feudal."
But at the same time.
Just like that sentence says, " There is never only evil or good in human nature, but if evil is not suppressed, it will eat up the fear of others and grow up, gnawing at the good in their bodies, and Swallowing the wine in mouthfuls. ”
How to suppress such evil has always been worthy of attention, but has never really been taken seriously.
In recent years, our country's legal system has indeed made a lot of progress. Those wives who have been subjected to domestic violence for a long time and finally have to kill their husbands can also be regarded as "minor circumstances."
can be regarded as a film and television work.
If it only stops here, it is obviously not enough. It needs to reach something more essential.
So we are looking forward to "Jiangyuan Lane".
Not only because today, it can finally be truly made clear that women are no longer an object to be consumed, nor are they the possessions of their husbands, or the vassals of the family.
can even ask more questions.
Where is the source of such violence? Can we make the violence disappear, the tragedy disappear?
We don't want that kind of evil.
eventually flowed into the blood of this society and became commonplace.
The pictures in this article come from the Internet
Editorial Assistant: Oda won’t let you cut
