The film "The Problem That Isn't a Problem": A realistic "fable story" of Lao She

"Problem Not A Problem" is a three-act black-and-white film adapted from Lao She's novel of the same name. It tells a metaphorical fable that took place in Chongqing after the War of Resistance against Japan in the 1940s: One Room Farms that are rich but always lose money. Three distinct and different characters are involved in a battle between the old and new farm directors. Compared with novels, movies have a more concrete and vivid character, a more conflicting plot, and a more stylized narrative environment, all of which are the credit of the lens language. The tone of the

movie determines the style of the movie. The black and white tone of the movie is determined by the director based on the reading of a large number of monochrome materials of the Republic of China during the script writing process. In the final presentation of the film, the black and white tones combined with the calm and objective narrative perspective bring about the absurdity of the film. The opening of the aesthetic distance also allows the audience to see more philosophy in the film.

​​but in addition to hue. The one-to-one correspondence between the film's lens setting and the character's personality is more typical. The film is separated by black and white subtitles in a three-act story centered on three characters, and the lens settings of these three parts of the story are completely different. The first person to appear is the farmer Ding Wuyuan. In Ding Wuyuan's story, the director used almost all fixed shots for medium and long-range shots. The shot time was also long and the composition was irregular. Most of them use symmetrical composition and some large geometric compositions, which are concise and powerful, giving people a sense of order. Even when Ding Wuyuan was doing flattery, the camera still handled it calmly, without speeding up the pace or adding close-ups, which fully shaped Ding Wuyuan's image of maturity and stability, even if the farm is in constant condition and crisis, he can still be indifferent.

and sports shots were mostly given to Qin Miaozhai, who played the second time. Qin Miaozhai was decent only when he first played, and when the accompanying Professor Wu disappeared. Qin Miaozhai's shots are all strong or weak shaking shots. There are also shots of Qin Miaozhai traveling by the jungle water from behind. Wherever Qin Miaozhai is there, the shots are all irregular and shocking, reflecting the emptiness of Qin Miaozhai’s four personalities and his "unreliable" The temperament of "Pu", even though he always wants to pretend to be a high-class person in the play, the audience can feel the true characteristics of the character through the lens.

You Daxing, who will appear in third place, returns to calm and restraint on the camera. You Daxing is a director who is out of touch with the farm. He returned from overseas and didn't understand the Chinese officialdom, nor did he understand the worldliness of Chinese society. Therefore, he appeared to be very rigid on a feudal farm, without any brains and thoughts, and even because of his arrogance in his bones, he felt helpless and was forced to leave after Mrs. Yu's private collection of workers' eggs was exposed. When the director presents You Daxing's story, not only does the lens adopt a fixed mid- to long-range view, but also the tone is more dimly colored, and there are even some vignetting corners that make people unclear. This is also the director's deliberate focus on the character. Arrange to use this lens to express You Daxing's loneliness and helplessness. The whole film of

changes from Ding Wuyuan’s static to Qin Miaozhai’s movement, and finally returns to You Daxing’s static. The ups and downs of this lens not only confirm the differences and changes in the characters’ personalities, but also a true portrayal of Chinese society. No matter how magnificent events you experience, you will eventually return to calm. Just as Ding Wuyuan said in the film, "Gou Quan lives in troubled times, it's good to live with one breath." After all, the wheel of history will not stop turning because of anyone. The

farm is like a microcosm of the entire society, and everyone in the farm is a microcosm of all classes of society. The director used black and white tones and calm lens language throughout the film to unfold a vivid social picture for us. The sound of gurgling rivers and running water, the quiet farm, the long pipa sound, and the regular composition in the film add a touch of Chinese temperament to the film. It is reminiscent of ink and wash landscape paintings, and it is enough to show the director's impression of Lao She's novels. Profound understanding and mastery of the film lens also make this actualized "fable story" more artistic.