Original title: Comments on People’s Arts: If you have an identity, you have to bear the unbearable weight.
As a spy war film mixed with suspense films and action films, The Unknown has a main narrative time of eight years (1937 -1945), with geographical space spanning Shanghai, Guangzhou and Hong Kong, and complicated characters’ identities. Taking the intelligence department of Wang puppet regime as the stage, people from all walks of life fought an invisible dark war for intelligence.
Identity has become the focus of film narration. In this spy war film with a very clear historical era, the director adopts a ring structure different from linear narrative. The opening paragraph and the closing paragraph of the film basically form a closed loop that raises suspense and finally gives the answer, and the first one is connected. This nonlinear narrative creates a chaotic and broken sense of the times in the form of image stream of consciousness — — This is also the mentality of all sentient beings in the narrative age of the story. Like many spy movies, the suspense set by Nobody is "Who is communist party?" Then it unfolds in a nonlinear narrative in a way of peeling onions. After watching the movie, we pieced together the fragments in the film and found that the central event was actually the death of the little duke who was hidden in the Japanese grass-roots team and its influence. And this is still a topic of identity.
Identity becomes an unbearable weight in the film. Director He, Mr. Ye, Miss Chen and other titles, just as the film title says, are just the identities of many hidden front-line workers working under the Wang puppet regime. Director Cheng Er has endowed people with different identities with different designs: Director He plays smooth, gentle and cautious, and carries on with heavy burdens; Mr. Zhang, who plays the role, lacks responsibility because of cowardice and fatigue in the face of great changes in the times, and therefore dies by defecting to the enemy; The dancers played represent the "Wang Jiazhi" who walked out of the mansion and were full of blood; Minister Tang, who plays the role, represents speculators and fence-sitters under the background of the great era. He thinks he is ingenious, but he is too clever … … Even the Japanese spy Watanabe, in the film, has always stressed that he is the Ishihara faction to show the difference with other Japanese troops. After the victory of the Anti-Japanese War, the captured Watanabe may return to Japan as a farmer because of his status. This kind of identity change is intolerable to Mr. Ye — — "I don’t agree with you to take off this military uniform and become an ordinary farmer." To cut Watanabe’s abdomen, on the one hand, is to liquidate his crimes; On the other hand, it is also a rejection of this identity transformation — — Watanabe’s identity as a spy bears too many historical memories of the invasion of China, and he must be blood out. At the same time, for underground workers, the identity is unbearable.It is often reflected in words and actions: When Director He learned that he was exposed at the dinner table, he changed his previous tact and bluntly said that there was no difference between Ishihara School and Tojo School in the eyes of China people; Mr. Ye injured the Japanese when his fiancee was humiliated and suffered from being unable to identify herself.
In Nobody, this kind of identity and its unbearable weight are based on the development of the plot and the characteristics of the actors, excavating the characteristics of the actors, arranging the role identity, and then expressing it in fluent visual language. Tony Leung Chiu Wai expertly continues his cold-hearted personality in Central mr. yi, and at the same time, he has the chic and bitterness of Mu Yun style in the movie. Miss Chen, who plays the role, continues the style of the underground party. At the same time, although there are not many scenes, it is crucial every time to promote narrative development. Mr. Ye’s plot arrangement and people’s design are just consistent with the characteristics of YiBo newcomers, which shows the green stage mixed with gloom and growth, but it is extraordinary.
It is a little regrettable that the deep excavation of the hidden front in Unknown is slightly insufficient. For example, it is not a tradition to directly assassinate enemy politicians. (Author: Li Fei)