Jia Zhangke is a representative of the sixth generation of directors. He uses uniquely charming images to illustrate the developing urban and rural images. In recent years, he has brought a unique movie-watching experience to the audience with "Old People of Mountains and Rivers" and "Children of Jianghu" . Speaking of Jia Zhangke, his feature film debut "Xiao Wu" is a classic that cannot be bypassed. When I watch this film more than 20 years later, the simplicity of production still cannot conceal the edge of the lens language.
"Xiao Wu" is the first part of Jia Zhangke's hometown trilogy (same as "Platform" and "Ren Xiaoyao"). It captures the spiritual world of the lower-level figures under the changing times, and presents the confusion and confusion of young people who are at a loss. , The questioning of the meaning of life makes the film have a real power to touch people's hearts. "I hope to use a very real thing to construct a psychological space, and a very material thing to construct a very spiritual film form."-Jia Zhangke Xiaowu: The anxiety of marginal people
The original name of the movie script was "Jin Xiaoyong's Friends, "Hu Meimei’s Family, Liang Changyou’s Son: Xiaowu", this lengthy name is the most intuitive summary of Xiaowu’s identity. Among the three basic relationships of friendship, love, and family, Xiaowu’s The identity tag is established. After all, "Xiao Wu" is different from ordinary popular plot films. Under the three identities, Xiao Wu is powerless and speechless, unable to retain friends, unable to continue love, and unable to suppress traditional family patriarchy.
Therefore, the English name of the movie "Pickpocket" (which means thief or pickpocket) is somewhat more eye-catching. The identity of the "craftsman" who relies on the ability to eat and the "subverter" thief of the modern order, the identity of this contradiction, further demonstrates Xiaowu's attributes as a "marginal person". Therefore, it is also directly reminiscent of the "Pickpocket" by Robert Bresson and Vittorio de Sica's "The Biker" and other masterpieces. "This is an anxious movie about reality." (See Jia Zhangke: "Director's Words")
was born when Jia Zhangke's hometown of Fenyang was on the verge of demolition. Therefore, "Xiao Wu" was also a sweeping trend of the commodity economy in the 1990s. A documentary image of a small northern county in the north.
The changes of the times have spawned countless speculative and profit-loving "businessmen", and more and more people who follow the trend are eager to learn to swim in the "commodity economy" in order to achieve success in the secular sense. Indeed, many people succeeded.
Xiaowu's best friend Jin Xiaoyong, who had shared the joys and sorrows in the past, became rich by "smuggling cigarettes" and became a respected young worker model and civilian entrepreneur. Jin Xiaoyong, after the brilliant Tengda, regarded Xiao Wu as a plague god and "keep a distance." Even the wedding invitation was sent to all the neighbors but he was excluded. But what Xiao Wu was thinking about was the original agreement of "six catties gift money", but the gift money he prepared with all his strength was rejected.
Wang Hongda's clever and clumsy performances and simple but distinctive character image modeling make "Xiao Wu" a classic little figure that cannot be erased in the history of Chinese movies. The big black-rimmed glasses, the large gray suit, the smoke that keeps from leaving his hand all the time, and the trembling legs subconsciously look like a thief and a gray-headed face, but in reality, it is a deep sense of confusion and dejection. His eyes are always paying attention to others and observing the things around him, but his heart is always in a kind of restless anxiety.
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