"Suzhou River" is a film by director Lou Ye. It has won many international awards including the 25th Paris International Film Festival, Best Picture and Best Actress Awards. The film mainly tells the entangled love story between Ma Ma and the innocent girl Peony, and the beauty and beauty of the mermaid show similar to Peony. The
film uses a novel way to tell the story, which is different from the god’s perspective of other films. This film tells the story in a subjective first person. The face of the self-reporter "photographer" is not present in the whole film, but it makes people It feels real after seeing it. Just like what the photographer himself said in the film, "My camera never lied", using a subjective first perspective to deeply bring the audience into the situation, let "we" become part of the film. The two names of Peony and Meimei symbolize the helplessness of small people in common secular life and ordinary people also have the beautiful dreams of fairy-tale love stories, but the truth is often cruel and imperfect. The director is very precise about "reality" without too much modification. At the beginning of the film, just seeing the Suzhou Creek from the first perspective can make the audience feel lonely and even see their own shadow. On the screen, the film is mainly presented in gray tones, dim sky, muddy and dirty Suzhou River, dim lighting, people without smiles, rendering a negative and depressing atmosphere, leading to the protagonist's miserable life full of drama.
The film "Suzhou River" adopts a new narrative structure-layered narrative. It is divided into three time and space to tell a story of two love stories. First, it flashes back to how it is like the photographer "I". Meet and fall in love with Meimei in real time and space.
Meimei was walking on the street, and then the camera turned around, turning into the past time and space, and what came into view was the peony with two ponytails. At the beginning of the story, Ma’a’s career made him meet Peony and have love, but soon Ma’a was threatened by his kidnappers to kidnap Peony to get money. When Peony learned the truth, he jumped into the Suzhou River sadly, and Ma’a was also kidnapped. Arrested and imprisoned. Back in real time and space, Ma Ma has been looking for Peony since he was released from prison. He happened to see Meimei who looks exactly like a peony and approached her. But after a while, Ma Ma learned that Meimei is not Peony. He went to "me" and asked for help. After a long time, "I" learned that Ma Da had found Peony. I thought the fairy tale had a perfect ending, but then there was news that they had an accident. Soon after, Meimei also left "I". "I" did not go to her like Madame. In short, it happened in Madame and Peony, the two loves between photographer "I" and Meimei. The story is fully connected through the narrative of the photographer "I".
The use of audiovisual language in the film fully demonstrates Director Lou Ye’s talent in the use of shots. The long shot of nearly 3 minutes at the beginning of the life environment in Suzhou Creek is a means to maximize the true intentions of life. It can be said that this is 3 points. Duozhong's shots not only did not make people feel boring, but also made viewers look forward to the film. In the dim environment, the breeze blew across the water and rippled, and the camera captured the garbage and leaves floating on the lake, as if there was a hint that the dream would eventually wake up. The camera suddenly shifted to the ruin-like building, accompanied by the sound of the city’s “lowest people” at work. The desolate and sad background music gradually sounded at this time. Then the camera shook sharply and saw the dilapidated buildings. The unfinished buildings that have been shelved, the rusty fishing boats, and the ordinary people who are toiling to survive. Just like the line said, "Looking for a long time, this river will let you see everything", shooting from the first perspective. The quick pull and slow push techniques and seemingly chaotic editing perfectly depict the surrounding environment of Suzhou Creek and the insignificance and helplessness of these people and things in this desolate society. I was impressed by the use of another lens on
. When Peony learned that Ma Da let her dad use 450,000 in exchange for her, Peony yelled "I'm so cheap", then turned around and ran towards Suzhou River like crazy. The camera shot Peony running wildly four times in a row, then the motor entered the painting and chased Peony, and then turned into a frontal shot of Peony. She shouted: "Leave me alone!" She yelled heartbreakingly, running and chasing. The movement and the shaking camera made people feel the heartbreak of Peony at that time. When Peony ran on the bridge and jumped over the guardrail, the audience's hearts couldn't help but feel the danger. Peony exchanged face-to-face with Ma Da with his back to the water. The two characters’ faces were close-ups. Peony’s doubtful smile contrasted sharply with Ma Da’s panic and anxious expression.I was worried whether this girl's life would end here. Following the slow motion processing, Peony fell from the bridge with a smile. She didn't seem to have a trace of fear. In that slow motion, she was still that innocent and lovely Peony, and the next shot was a beautiful mermaid. Let the audience deeply feel that love tainted by money is so vulnerable and the fate of the characters.
In the end, Ma and Peony died in the Suzhou Creek. They also wanted to tell us that this kind of love does not belong to real life. We didn’t understand love before, but when we understood it, love was buried in Suzhou. River.
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