Fishing and woodcutters talk about history, Ferry inscribes world love
——Wang Li's film "The Ferry" (Literary Review)
Text/Yang Buhan
Recently, the local-themed movie "Ferry", directed by Wang Li and co-written by Huang Yongjun and Wang Li, is being broadcast online as an online movie. The main filming location of the film is Beibei Shuitu. Connecting Shuitu and Caijia District, in addition to several bridges across the Jialing River, there is also a "full" car ferry with a sense of vicissitudes, located at the Sansheng Ferry at the edge of the times. It is in this rusty rhetoric of the age that Wang Li finds the inspiration for stories and emotions. It is conceivable that due to financial, energy and time reasons, the movie "Ferry" still has some flaws in some details. But I prefer to talk about my impressions from the overall structure and cultural connotation of the film and television.
According to the insight of philosopher Zhao Tingyang, some countries are based on philosophy, such as ancient Greece; some countries are based on religion, such as India, especially the European countries in the Middle Ages; while China is a country based on history, and history is the foundation of the spiritual world of Chinese people. It is precisely because of this that we are so obsessed with history, and eager to find emotional resonance, principles of conduct and answers to various questions from history. However, the vast majority of Chinese people have different ways and attitudes from professional historians when they face history, that is, they talk about history in the way of "fishermen and woodcutters", without pursuing any historical laws and ultimate mysteries, but just looking at the surging river and lamenting the changes in the world. The so-called "white-haired fishermen and woodcutters on the river, used to look at the autumn moon and spring breeze", is what I say.
Of course, this is not to discuss the spiritual world of the Chinese people, nor is it to discuss the form of historical existence, but to say that the movie "Ferry" fits this cultural model of "fishing and woodcutters talking about history". I don't know if the writers and directors of "The Ferry" did this on purpose, or by some mysterious coincidence or unconsciousness. In any case, the film chose to use the narrative perspective (and structure) of several fishermen (a contemporary form of Yuqiao) to tell the past of the ferry to complete a roaming of the lens language.
Sansheng Ferry is the last ferry in Chongqing. The sense of vicissitudes of history is not rusty, at least it is full of dust. The story told in "The Ferry", from the hero's top bag to prison, to the settlement with his opponent after the fall, and the reunion with his lover, has a history of more than ten years. Most Chinese movie audiences are happy to find meaning, inspiration, and fun in history, and the plot design of "Ferry" has gained its mass base. Of course, it also reflects the director's own historical vision and cultural feelings. Although the actors in the movie are non-professional, and their acting skills are occasionally a little blunt, judging from the characterization of the script, each character is considered full.
On the whole, the movie "The Ferry" conceives a tortuous and moving story, restores a simple historical background, and endows Sansheng Ferry with sentimental, righteous, and loving connotations. The river is always passing by, the ancient town is becoming more and more mottled, history disappears in time, and the story is lost in the flowing water, but some simple emotions that this movie wants to express are eternal, worthy of the white-haired fishermen to tell repeatedly, and become a reef for people to deal with the vicissitudes of life. As mentioned earlier, the attitude and emotion of the white-haired fisherman towards history is exactly the attitude and emotion of the vast majority of Chinese people towards history. Therefore, at this level, the movie "Ferry" can be said to have found a convenient door to open places, history and art.
In July of this year, Tian Qi, one of the chief planners of the film and the designer of the Chedu service station, Ma Xuhua, the film producer, and Wang Li, the director, jointly donated the film "The Ferry" to the Chedu service station under the witness of the seniors in the cultural circles of Chongqing and the cultural propaganda leaders of the Municipal Highway Affairs Center. I believe that passengers waiting for the ferry at the ferry, watching this movie and looking at the Taotao River under the pier, will naturally think of the familiar poem:
The Yangtze River is rolling to the east, the waves wash away the heroes, the success and failure turn around, the green hills are still there, and the sunset is red several times.
Sansheng Ferry has witnessed too many stories, and the surging Jialing River has also taken away too many people in the passing of day and night, but the world is changing, and human feelings are always there-if the movie "Ferry" can strengthen such a sense of historical vicissitudes, and become a witness of the times like ancient history.
Author brief introduction: Yang Buhan, whose real name is Yang Ya, is a native of Fengjie, Chongqing. He is a doctoral student of the College of Liberal Arts of Yunnan University, a member of the Chongqing Writers Association, a student of the 43rd Advanced Research Class of the Lu Xun College of Liberal Arts, and a creator of the fifth session of the Chongqing Literary College.
editor: Zhu Yangxia
editor: Chen Taiyong
review: Feng Fei
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