Aiding Xinjiang to show great love, holding hands to forge true love--Review of the movie "The Guests under the Iceberg"
Author: Huang Yiming
In the 1960s, the movie "The Guests on the Iceberg", which was produced by Changchun Film Studio and led by the famous movie artist Liang Yin, brought the story of the Xinjiang The touching story of the people of all ethnic groups being united and united in their determination to maintain national unity and defend the unity of the motherland to the death, as well as Yang Platoon Commander, Amir, and Gulandam in the story, were brought to the screen. Better grasp of the pulse of the era, using the film carrier to reflect the characteristics of the era, reflecting the art of serving the community, serving the direction of life, and give play to the positive energy generated by the leadership of the advanced culture.
In order to make a perfect combination of subjective demands and expression, the movie has made an organic combination and intermingling of the simple hero image and the music elements full of Xinjiang's local flavor. The theme of the film gives innovation and life to the music, which in turn contributes to the tension and sublimation of the theme, making the music and the theme more vivid and wonderful, and more full of vitality.
Decades have passed, but as long as the mention of "Guests on the Iceberg", people are still full of nostalgia for the movie, the storyline and the main characters of the movie are still fresh in their memory, the movie shows that the passionate years of nostalgia, and the movie episode "Why are the flowers so red" is not only expressed in the feelings, but also intoxicated by the beauty. The movie's interlude "Why are flowers so red" not only expresses emotions, but also revels in its beauty. Full of Western style and Xinjiang elements of the melodious tunes, melodious, intoxicating, more refreshing. Therefore, wherever the movie is shown, "Why are the flowers so red" will be sung, and even sung to where. It is also the influence of the film, so that hundreds of millions of viewers, especially the mainland audience, to understand the recognition of Xinjiang, fell in love with Xinjiang.
Now that we have entered the 21st century, the era depicted in "Guests on the Iceberg" has become a long time in the past. After decades of unity and struggle, the history of Xinjiang has undergone radical changes. Since the reform and opening up, the vast and richly endowed land of Xinjiang has been rejuvenated, flourishing and full of vitality. In order to further accelerate the pace of development in Xinjiang, the CPC Central Committee held a special symposium on Xinjiang work and counterpart work conference, put forward the realization of Xinjiang's leapfrog development and long-term peace and stability of the two major historical tasks of the major strategic decision, and determine the national efforts to support the development and construction of Xinjiang, improve people's livelihoods of major deployments of the future development of Xinjiang played a decisive role in the role of Xinjiang. According to the spirit of the Central Xinjiang Work Symposium, the provinces and regions responsible for the task of counterpart aid to Xinjiang were quickly put in place and started their work in a timely manner. The figures of those who have provided assistance to Xinjiang can be seen in the north and south of the Tianshan Mountains, and the changes brought about by the assistance to Xinjiang can be seen everywhere from the east to the west. China *** Aketao County Committee, the county government out of the counterparts to aid Xinjiang, their own benefit from the touching; out of the aid to the Xinjiang people believe in duty, loyal work, hard work, with sweet **** witness; out of gratitude to the central policy; out of the social responsibility of the responsibility of the bearer and sensitivity to the Urumqi Thousand Harvest Culture Ltd. cooperation *** with the completion of the film "Guests under the Iceberg". Not to mention the content, just the title of the movie, it is the highlight, there are points of view. "Guests on the iceberg" and "guests under the iceberg", said the guests, but the difference is that they come from "the mountain" and "under the mountain "The difference between the words "up" and "down" will attract people's attention and interest, and will arouse people's desire to watch this movie, and the title "Guests Under the Icebergs" can be described as an eye-catching stroke of color.
"Guests on the Iceberg" and "Guests under the Iceberg", the shooting time is decades apart, but the two to promote the process of Xinjiang's history and civilization for their own purposes is the same. Both of them are from the macroscopic big picture project, from the micro-typical ink. The Guests Under the Iceberg" is the continuation and relay of the story of "The Guests on the Iceberg", and the inheritance and promotion of the spirit. The unfinished business of platoon leader Yang in The Guest from the Iceberg is completed by his grandson, Yang Bing, in the context of Xinjiang Aid. Not only Yang Bing, the main character of the story and the prototypical characters of the story of "The Visitor on the Iceberg" are all connected, which greatly increases the sense of identification with the thematic orientation of the movie "The Visitor Under the Iceberg" while carrying on the story. The arrangement of this character relationship is the docking and extension of legacy and will, the inheritance and promotion of historical impetus, and the hope and blessing for good things.
When we see, under the snowy mountains and icy peaks, between the green grass and desert, the sacred five-star red flag, rising every day from the hands of the Amir old man and millions of people; to see the Amir old man often go to the place where they buried their comrades, play kumz to them, and they pull family; to see in order to cooperate with the country to repair reservoirs on the plateau, to cover the flag of the highest respect for the war comrades sleeping in the reservoir area placed in a more sacred The place; see Amir old man in front of the newly constructed tombstone, looking at the unforgettable, clearer memory of comrades has been very blurred photographs, full of tears solemn salute and other touching scenes, etc., showing the people of all ethnic groups on the border of the patriotic spirit of love, love, sense of the overall situation, so that the audience stood up in awe.
We also saw Yang Bing in front of his grandfather's grave with mixed feelings, kneeling down. It was as if the audience heard his heartfelt wish to carry on the legacy of his ancestors and finish the unfinished business so that the people on the border can live a good life.
Yang Bing's wife, Ding Yizhu, is a very good ophthalmologist. In order to save her and Yang Bing on the verge of a broken marriage, in order to get a chance to have a child, she hid Yang Bing resolutely participated in the medical team to aid the Xinjiang Yang Bing work place, a long time ago, the couple met. When they meet, they are overwhelmed by the sudden joy. Yang Bing in a "Amir, charge; Yang Bing, charge!" Yang Bing hugged his wife tightly in his arms. The wife kept patting her husband, pouring out her thoughts and love for her lover Yang Bing in the simplest yet most complicated way.
The old man, Amir, in order to help Yang Bing and Ding Yizhu solve their fertility problem, took Bai Ling Kezi up the snowy mountain to pick herbs for them. Unexpectedly encountered danger, the old man's leg was seriously injured. Yang Bing rushed to the snowy mountain with his men on the news. The old man's leg could no longer ride a horse, so Yang Bing hurriedly carried Grandpa Amir down the mountain. When the villagers rushed to meet the scene, from Yang Bing's back to pick up Grandpa Amir. Because of the high mountains reflect, overworked Yang Bing but fainted on the ground.
The old man was saved.
Yang Bing woke up three days later in the hospital. Seeing his wife holding his hand in front of his bed, Yang Bing was very moved.
Yang Bing, as the secretary of the township party committee and a cadre in aid of Xinjiang, has a simple wooden bed in his dormitory, a hanging calendar, a cloth closet, and an old-fashioned ordinary wooden table. As a township party secretary's bedroom, it seems too simple, shabby and unbelievable. But this is a microcosm of the work and life of Xinjiang cadres.
The wife went to her husband's dormitory and didn't see anyone, but she saw her husband write her a note, she didn't blame, but picked up the clothes that Yang Bing hadn't had time to wash. Yang Bing came back to see a piece of clean clothes, caressing and kissing, thinking about storage for a long time.
Amir's grandfather at home in front of the old site to look back to the past and so on.
The above scenes, if not handled well, will be pale or fall into the cliché. But the movie is not, the director gave the picture to the audience, the thinking space left to the audience, and the audience interaction, I think the audience friends will think more, farther.
The collective oath of aid workers; villagers waving picks and shovels planing soil and sifting sand; under the blue sky and white clouds, beside the clear water and green grass, pieces of new villages, new houses; villagers moved into the new home in high spirits; a scene of joyful and enthusiastic; the mountains, rivers, lakes and seas of the springtime everywhere, the humanities and the natural landscape of a picture of a perfect combination of the picture, so that the "Guests under the Icebergs" is full of color and brilliance everywhere.
When it comes to the characters, the actors are close to the characters, into the life, out of the personalized performance, convincing. Yang Bing's role in Yu Yang, Amir's grandfather's role in Eqbal Yahefu, Ding Yizhu's role in Zhu Ge, deputy secretary of the county party committee's role in Li Shudi, the village head's role in Sang Zongzhong, Gulandam's role in Gurigazi buy buy Niyazi, Bailing Koz's role in Shatiguli Kadeer, and so on, are all national performing artists. They grasp the role accurately in place, emotional interpretation of real touching, and the prototype characters aptly match. Like putting down the whip from the felt room, put away the hoe from the field to come to the prototype of life, in front of the camera to play themselves, without modification, real touching.
"Guests under the iceberg" this movie, from the project intention, innovative ideas, scene changes, characterization, lens use, etc., can be seen Zhou Wenyang director of ingenuity.
"Guests under the Iceberg" is the first movie to promote the spirit of Xinjiang for the general audience provided by the county government and Urumqi Thousand Harvest Culture Co., Ltd. It is a good movie with novel story, beautiful scene, excellent acting, cohesion, encouraging, inspiring, and worthy of viewing.
Challenging the limits of cinematic art through the interface of "up" and "down" - Review of the movie "The Guests from Under the Iceberg"
Written by Zhang Xianting
It can be said that through the "Guests on the Iceberg" and "Guests under the Iceberg", the art of movie montage, which is the interlaced docking of "above" and "below", realizes the film's commitment to the "unification of the motherland, national unity, loyalty to the border, and the enrichment and strengthening of the border" and many other lofty ideals. Strong border" and many other noble spirit of inheritance of the expression of the will, in the "Guests under the iceberg" the film has been played to the fullest extent.
As China's first thematic movie to promote the spirit of modern aid to Xinjiang, the title of the movie is initially "up" and "down" to form a discrepancy between the audience initially in a kind of illusionary guidance to develop associations - - the film will not be the first time to promote the spirit of modern aid to Xinjiang, but also the first time to promote the spirit of modern aid to Xinjiang.
The movie is not a copycat of "The Visitor from the Iceberg," which was first made in the 1960s, is it?
The suspense caused by the title of the movie, which captures the audience's curiosity about the content of the movie from the very beginning, and attracts the audience's attention by challenging people's habitual thinking, is the first psychological trap deliberately set by the producers to realize the interface between the "above" and the "below". The first psychological trap was set by the producers in order to realize the connection between "up" and "down".
After that, the creators of the film realized another clever docking of "up" and "down" through the close connection with the characters of "The Guests on the Iceberg". Moreover, this docking is not only temporal, but also spatial. Both the continuation of the "Guests on the Iceberg" in the garrison, the spirit of the strong border clues, but also through the descendants of Yang platoon leader of the frontier cadres Yang Bing (played by Yu Yang, National Theater of China) and retired veteran border guards Amir old man (played by Xinjiang Film and Television Drama Troupe Ekbal Yahefu) natural and sincere emotional exchanges, expressed the Pamir Plateau of the various ethnic groups of the people of the great cause of the gratitude of the frontier aid, to show the new century, Pamir, the foothills of the iceberg, the various ethnic groups unity and progress, wealth and strength of the frontier. It shows the ideal life of all ethnic groups in the new century at the foot of the Pamir Iceberg.
The docking of these two generations of representative characters, due to the ingenious setting of character relationships, undoubtedly plays a magical effect of opening the door and drawing a dragon's eye to the whole movie.
Secondly, on the surface, the hero of the movie, Yang Bing, is just an ordinary cadre in aid of Xinjiang. But this seemingly ordinary relationship still hides a "top" and "bottom" closely related to the dark line, that is, Yang Bing's position is from the rich south of the Yangtze River to the edge of the poor counties of the top-down, and Yang platoon leader and Amir old man and Yang Bing in the physical and spiritual lineage, the continuation of the top-down. top-down continuity.
Faced with the widespread use of Uyghur language to communicate with the outside world of the vast majority of farmers and herdsmen in southern Xinjiang, the film in order to eliminate the language communication barriers between the cadres and local farmers and herdsmen in Xinjiang, lost no time to design the Amir old man's granddaughter Bailing Kezi (played by Keshu Song and Dance Troupe Xatiguli Kadeer) to attend high school classes in the Mainland and return home after completing the study. This plot design, which is fully in line with the actual situation in Xinjiang, is not only the "up" and "down" docking between movie art and real life, but also the "up" and "down" relationship between the characters in the drama. The plot design is not only the "up" and "down" connection between movie art and real life, but also the "up" and "down" connection between the characters in the drama. Otherwise, the cadres who came from above to aid Xinjiang and the local people below will invariably form a huge chasm between the leading cadres and the masses, making the docking of "up" and "down" flawed and causing a small regret.
It is precisely this kind of elaborate "up" and "down" "open road" and "dark crossing the barn" from beginning to end that has made the domestic movie a success. "
The film is a bold attempt by the creators of domestic movies in the presentation of melodramatic films.
As an inspirational melodrama film, the film retains the reasonable presentation of traditional films in terms of camera language, music, and the use of sound to help express the complexity of human thought and the inner world (for example, at the beginning of the film there is a narration of Bailing Kiz, which breaks through the lens limitations to the sound and picture dislocation of the "voice over"), which is the traditional way of expression of the film. "is one of the characteristics of traditional films); it also combines the exploration of the origin of human nature in modern films and the positive factors of diversification of structure, consciousness and means of expression in the field of stream-of-consciousness, and it is an innovation of the film art form that combines tradition and modernity (e.g., in order to accentuate the psychology of the characters and add bright colors to the film, the film often loses no time to incorporate some images of beautiful natural landscapes in Xinjiang). (For example, in order to add brightness to the psychology of the characters, the film will often incorporate some beautiful natural scenery in Xinjiang and touching native Kyrgyz music, which is one of the characteristics of modern movies through the enhancement of audio-visual art to complete the sublimation of the viewer's inner feelings).
The current domestic blockbusters generally prefer to use oversized scenes, luxurious costumes and exaggerated alternative costumes to attract the audience's attention in order to win the box office revenue. This kind of luxury, which seems to have no soul, cannot withstand the rational scrutiny of the audience, and it is the dying struggle of the movie practitioners at the end of their artistic life, which can't escape the fate of their passers-by.
The Guest Under the Iceberg is different, although it depicts the beautiful new life of the people of all ethnic groups in the most remote areas of Xinjiang in the 21st century, it inherits the simple and unsophisticated natural style of The Guest on the Iceberg, and for the first time uses the language of the movie to present to the audience the simple and unadorned love of Xinjiang and the simple and mellow folklore of the high plateau in the form of high-end art in a staggering manner. Let the audience through the living language, simple and natural performances and moving Xinjiang native music "Why are the flowers so red" Bowen lyrics, Ye Linhua music, Jing Yidan sings, to revisit those long-lost film art of the original ecology, to a great extent to avoid the current domestic blockbusters commonly exist in the shortcomings of the food such as chicken ribs. The final effect will be like a well-brewed and flavorful wine that lasts for a long time.
From another level, the film can be called a high level, because whether from the perspective of ecological environment protection (Yang Bing led the masses to help repair the reservoir), or from the equality of the people and the government to aid the cadres of Yang Bing in the county party committee Fang deputy secretary (the former Xinjiang Military Region Drama Troupe played by Li Shudi) support, and the masses of people with the same **** suffering for the local farmers and herders to share the worries of the local people, reflecting the "up" and "down", the "up" and the "up", the "up", the "up", the "up", the "up" and "up". "Up" and "down" docking after the harmonious and equal perspective, or from the national long-term stability and harmony and unity of the political point of view to consider, the film have done a reasonable arrangement and display, compared with similar subject matter of the film, is indeed unique.
As a work of Xinjiang's local cinema, The Guests Under the Iceberg still incorporates distinctive national characteristics and regional colors in its audio-visual language, while letting the marriage of a couple of lovers get a miraculous christening on this piece of land in Xinjiang.
Only, 60 years later, it is no longer possible to have the kind of antithetical love suspense between the real and fake Gulandam and Amir in "The Guest from the Iceberg". So the creators of the film, through brainstorming, used a clever combination of romanticism and realism to make Yang Bing and Ding Yizhu's (played by Zhu Ge of the Xinjiang Art Theatre Drama Troupe) marriage, which was in crisis because of childbirth, resolved through the help of the wisdom and kindness of Amir's old man's family, which not only realized the ups and downs of the plot and touched people, but also jumped out of the thousand and one of the mundane love stories.
This kind of simple emotion from life, its touching degree, I believe, is no less than 60 years ago, "Guests on the Iceberg" in the Amir and Gulandam's legendary love. Even so, the creators of the movie are still not willing to use a simple and commonplace way to hastily end this silver screen of the world's love. In order not to leave the slightest flaw in the hearts of the viewers, they made a brilliant stroke of writing, and at the end of the film, they made two more wonderful flowers, namely, Yang Bing got a son and Yang Bing and Mrs. Ding Yizhu to the county party committee, deputy secretary of Fang Yizhu put forward a solemn request to continue to aid Xinjiang for three years.
This ending, both in line with the reality of China's national conditions, but also greatly unexpected by the audience, in the full expression of the film's No. 1 character of the lofty spirit of patriotism at the same time, but also show as an ordinary cadres of the border cadres of the family and the country both.
This kind of in the same film to realize N times "on" and "down" seamless design, people beat.
After all, this is a high-quality enhancement of the film's political and artistic charms in an invisible way, and this way of challenging the limits of the art of cinema is a commendable attempt in the shooting of films of the same kind and even in the entire domestic filmmaking industry.
The release of The Visitor Under the Iceberg is sure to attract many viewers to the theater. To give the audience an enjoyable viewing experience, I believe this is the most awaited medal by all the creators involved in this movie.