movie " stop and go " won three awards for best film, best screenwriter, and best supporting actress at the 14th Beijing International Film Festival held in April this year. With the grand prize approaching, "Stop and Go" was released on June 8, and it quickly became the most watched domestic film during the Dragon Boat Festival. Some viewers believe that "Stop and Go" is somewhat similar to the light comedy "Love Myth"; some viewers believe that the film has similar character settings to the hit drama "My Altay"; and some viewers feel that " After "Mr. Bao", Hu Ge has broadened his acting career, and a new actor has been added to the track of "wimp" male protagonists.
The "Bashi" light comedy
"Stop and Go" was released on June 8, the first day of the Dragon Boat Festival holiday. Hu Ge, the "Mr. Bao" who traveled on the beach in the TV series " Blossoms ", transformed into the crispy young Wu Di in the movie "Stop and Go".
Wu Di was originally a scriptwriter from Beijing. He returned to his hometown in Sichuan due to frustration at work and love. Wu Di's "surprise" return to his hometown broke the family's originally peaceful life. Not only did he need to face the "intimate" relationship with his family again, but he also needed to find more possibilities for his future. After many obstacles in the face of reality, Wu Di ran into Feng Liuliu (played by Gao Yuanyuan), a high school classmate who worked in a TV station. Feng Liuliu wanted to capture a young man who had returned from Beijing to help him shoot a documentary in a small town. Wu Di also wanted to take the opportunity to promote and show off himself. After some time, their respective calculations led to this cooperation, which opened a new page in their lives with the people around them...
When "The Myth of Love" was released, everyone jokingly called it the "Shanghai version of Woody" Allen", when it comes to this "Stop and Go", some netizens on Douban said that it is "the Sichuan Woody Allen in Japanese life." Film critic Min Sijia commented on the film: "The 'laughing' thing. Things can be easy, but sometimes they are also difficult. What Director Long Fei shoots is a sense of comedy with a 'blurred edge of life', which has both light and relaxed moments and a texture full of life." Various labels such as "Woody Allen", "the rough edge of life" and "light and textured" all illustrate the amusing part of "Stop and Go", many of which come from the leisurely, real, and realistic nature of this light comedy. The touching relaxation is called "Bashi" in Sichuan dialect.
A few years ago, comedies with high-concept settings were popular in theaters. This type of comedy often requires a premise, and then strong dramatic conflicts arise due to this setting. For example, in the "twist comedy", the protagonist of " The Richest Man in Xihong City " suddenly has endless money, the male and female protagonists of " Shy Iron Fist " swap genders, and " Super Powerful Family " Each of the protagonists has unique superpowers... Such a setting that is different from normal people's living conditions will naturally bring a lot of laughter.
"The Myth of Love"
However, light comedies such as "Stop and Go" and "The Myth of Love" integrate the light and tiny laughter points that each of us may encounter in life into the movie, and piece it together into a comedy. A high-quality story that combines realism and comedy is more likely to resonate with the audience. The premise of the movie "Stop and Go" is that Wu Di, who has failed both in love and career, returns to his hometown in disgrace. At first, his parents were a little disgusted with this child who had "failed to achieve success". His father (played by Zhou Yemang) commented on his return. The behavior of the family "is gold wherever it is, and it is shit wherever it is shit." Maybe the screenwriter can inspire the conflicting relationship between Wu Di and his old family, but in this film, this conflict is concreted into some small scenes with a sense of comedy.
For example, Hu Ge, as an "ambitious young man" who returned home, was "lying" on the sofa and was too lazy to get up so he used his feet to grab the remote control; his father was using his patriarchal power to suppress and control his children. When the time comes, he always likes to carry out "dinner table education", and often carries a teapot that symbolizes authority or a small fan; when his father keeps preaching how much face he has, he takes Wu Di to the old leader's house with gifts to ask for help. When looking for a job, I encountered an awkward quarrel between the leader and his wife. As a "Sichuan and Chongqing man" with no family status, the old leader was kicked out of the house by his wife and beat him, and even went to the hospital while saying "I'm fine"; in person When an old classmate commented that he was a middle-aged man with no aspirations, Wu Di's reaction was "Do you still remember my birthday? Do you like me?"... From the previous generation to the next generation, one can see the Sichuan people. The self-deprecating attitude and life wisdom of "making do" and "almost living".
Chen Junsheng, the "ex-husband" played in the TV series "",
My first half of life Lei Jiayin
Is there a new kid on the "wimp" track?
In the film, Wu Di, played by Hu Ge, has reached middle age. He feels that his talent is not appreciated because his creative ideals are dusty. He cannot move back to his hometown in middle age because he cannot move in a big city. Because he is not good enough, he breaks the peace of his family. His love ends without any progress and his career has no progress. , young people who were disliked by their parents in various ways, which made many young viewers call "This is my autobiography." Jinan Times·New Yellow River reporter found that on Douban, many netizens said that they saw their living conditions through Hu Ge. Some netizens commented that "Hu Ge secretly observed me for at least three years in order to make this drama well." Others commented that after the "Big Three losers" Lei Jiayin, Guo Jingfei, and Baike, there is a new general in the "waste" track - Hu Ge.
Just like in the movie "The Myth of Love", Ms. Li, played by Ma Yili, uses "downhill road" to describe her living conditions. In "Stop and Go", Wu Di, played by Hu Ge, has the "wimpy attribute" that hits the wall at first glance - the mixed clothes look like they were picked out from the wastebasket, the pants are baggy, and the crotch is a bit down. Take it off, convenient for working or lying down at any time. Because I have been typing all the time, the wear and tear on my elbows will be serious, and cigarette ash often falls off my pants. Because I'm often in a hurry to go out, I don't wear a pair of socks. In addition, a U-shaped pillow should be hung to support the fragile cervical vertebrae.
In the movie "The Annual Party Can't Stop", Bai Ke plays the "worker" Ma Jie
Ms. Chen, who has liked Hu Ge for many years, said that she started to like Hu Ge from Li Xiaoyao in "The Legend of Sword and Fairy" 20 years ago. The two are almost the same age, and the film and television works played by Hu Ge have almost connected her for half her life. Now, after working hard for several years in the workplace, he realizes that he neither has Mei Changsu's schemes nor experienced Mr. Bao's glory. Now Hu Ge plays a middle-aged loser. "This may also show that the passage of power and wealth It is narrow, and 'wasting' does not mean giving up on oneself, but rejecting the false struggle of twisting and turning, lowering unrealistic expectations, avoiding responsibilities that are not one's own, and facing oneself openly."
Unlike her brother, Wu Shuang, the younger sister played by Jin Jing in "Stop and Go", represents the "Z generation" (the generation born from 1995 to 2009). The younger sister's resistance to tradition and authority in the film symbolizes The way of life and life attitude of the younger generation.
Sister Wu Shuang, played by Jin Jing
For example, his father likes to show his authority at the dinner table. His brother Wu Di will use his cowardly way to escape conflicts, while his sister uses "force" to resolve such "dad-like" situations. farce. When her father taught her younger sister, "You should play nice with your friends, and don't dress like a man every day, any man will fall in love with you." The younger sister ignored her eyes and said inappropriate words. At the same time, she pressed her limbs on the dining table to prevent her father from destroying her. A table of delicious food was dropped, but my father used his strength to lift the table and dodged his waist. He supported his waist and limped out of the restaurant. Not only did he lack dignity, but he was rather embarrassed. The lecture ended with his sister's silent resistance.Feng Liuliu appeared at home with a arrogant look and a camera that symbolized order and authority. As soon as he came up, he asked his sister to change clothes, "because black clothes absorb light." In response, Wu Shuang put on another one that said "Shut up, shut up." The return of white clothes makes people laugh...
The audience can see that both brother Wu Di and sister Wu Shuang can find their own living space in a seemingly free and loose family relationship. This is actually an unfettered and common family state for the next generation in modern society.
How do returnees get new space?
For most people, big cities symbolize a broad blueprint for life, and they may be able to achieve worldly success - money, power, the envy of everyone... However, big cities are not without their drawbacks, such as younger people working as part-time workers. People are facing a crisis in the current job market environment, and older migrant workers have to face the "35-year-old crisis" and "45-year-old crisis." These are topics that working people in big cities cannot avoid today.
In the past two years, whether it is a TV series or a movie, there have been many stories about young people returning to their hometowns from big cities. The recently popular TV series "My Altay" tells the story of a young man who pursues his literary dream in a big city. The story tells the story of Li Wenxiu, who was forced to return to his hometown in Altay, Xinjiang due to repeated obstacles, and lived with his mother Zhang Fengxia, who ran a canteen.
Li Wenxiu in "My Altay" is similar to Wu Di in "Stop and Go". Li Wenxiu has a dream of being a writer, while Wu Di is a screenwriter. The former returned to Altay from Urumqi, and the latter returned to Sichuan from Beijing. Both were unsuccessful writers who returned from big cities. When Li Wenxiu didn't recognize everyone in the village and couldn't speak the local dialect, she insisted on helping her mother's canteen to collect debts from one house to another, or not eating until she came back. Although there is a hidden affection between Wu Di and Feng Liuliu, Wu Di speaks "Sichuan Mandarin" mixed with English when facing Feng Liuliu. The two always seem a bit awkward and even funny when they get along...
Part of "Stop and Go" Short Comment
This is also a theme often discussed in such films and television works with the theme of "returning to hometown", that is, after people escape from Beijing, Shanghai and Guangzhou and return to their hometown, they may carry a certain amount of "baggage" - although I came back from a big city, But I didn’t stay in a big city for so many years in vain. How do people like Wu Di get new space and freedom after returning to their hometowns in a place that seems to have closer and more closed-off relationships, relationships, and sophistication?
"Stop and Go" chose a similar approach to "My Altay", that is, as a creator, because of the change of living environment, he has a new life practice and self-perception, and also has more inspiration for literary and artistic creation. With Feng Liuliu's encouragement and help, Wu Di formed a creative and energetic crew, with his sister as an assistant and his mother as the heroine. After Wu Di gained his own creative freedom, he also began to realize that returning to his hometown was not an escape, but a process of re-examining and discovering himself.
When film and television works are no longer limited to showing exaggerated and legendary stories, they begin to show ordinary people's real emotional entanglements and ordinary daily life, and they can also bring the audience a touch closer to life. By watching this type of film and television works, busy viewers also see that there are many other ways of living in reality, rather than just pursuing the only answer.
Reporter: Xing Yuan Editor: Xing Yuan Proofreader: Faye Wong
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