Wu Tianming spent his life wandering between tradition and modernity, and the characters he created also clearly reflect this. The opposition and unity between the runners and the left-behinds are particularly prominent. not only is extremely consistent with the social contradictions at that time, but also corresponds to the unsolved problems in today's society.
In this contradiction, Wu Tianming often sets the left-behind as the old man and the runaway as the young man. Inspired by the left-behind, those who leave are often accepted or influenced. reveals Wu Tianming's inner preference for tradition through a generational inheritance.
Starting from "Life", Wu Tianming constructed the relationship between the runners in the countryside and the left-behind people from contradictions to the ultimate unity in his films.
In "Life", De Shunye is obviously a loyal left-behind and the so-called inheritor. He is trying to guide the young next generation Gao Jialin to accept his peasant identity. and evaluate Qiaozhen as a "golden woman". praises the love between Gao Jialin and Qiaozhen, which plays a role in leading Gao Jialin's inner emotional direction.
And he drove Galin and Qiaozhen in the moonlit night, telling the romantic scene of his love story when he was young in the misty moonlight, which is unforgettable and further strengthening his status as a "life mentor". It is obvious that , as the left-behind person, represents the director's emotional
, the tendency of Libra: Although the left-behind person in "Life" has not realized the influence of the runaway person, still tolerate the frustrated runaway person with a broad mind. is not another form of success.
Wan Shuiye in "Old Well", although Wu Tianming used a completely realistic method to replace the deified description of him in the original work, , its absolute authority has not been weakened.
Sun Wangquan was so eager for love and progress at first, but the traditional rural culture represented by Wan Shuiye detained him. Wangquan's father died of digging a well. Wan Shui's words were like a blood-colored coffin that occupied most of the screen. finally swallowed Sun Wangquan into the "abyss" of emotion and morality.
Obviously, the inheritance of the left-behind people in "Laojing" has been successful. This fine and dense network of morality and responsibility finally left Wangquan in the mountains. also demonstrates that the traditional blood flowing in Wangquan's bones was finally stimulated. Although he recognized the power of development and progress in his heart, and used modern industrialization technology to solve the draft problem that has plagued Laojing Village for hundreds of years, no matter whether it is the limitation of morality and ethics or the ties of family responsibility, Wangquan is not allowed to continue moving forward.
In "Hundred Birds Paying to the Phoenix", Wu Tianming also created a group of special characters, namely Jiao Sanye and his two apprentices. In this set of relationships, Jiao Sanye and Tianming are the left-behind people, and Lan Yu is the runaway people.
Among them, Jiao Sanye and Tianming are obviously the relationship between inheritance and being inherited. Jiao Sanye completely imparted his values to Tianming, and Tianming, as the recipient, did not resist at all, and completely realized the inheritance of generations. Tianming and Lan Yu, and are the only "opposition images" in Wu Tianming's works that get along well.
Wu Tianming portrayed these two characters very differently: Tianming is quiet and steady, while Lan Yu is lively and active. The film uses the scene of getting up to show Tianming's diligence, contrasting Lan Yu's slackness; the scene of cutting wheat shows Tianming's down-to-earthness, contrasting Lan Yu's roughness.
But Jiao Sanye's attitude towards the two was puzzling: when he accepted the disciple, he used Lan Yu's talent to set off Tianming's mediocre qualifications. When he went out, he only brought Lan Yu and ignored Tianming, and even gave Lan Yu suona in advance. However, in the end, Jiao Sanye passed "Hundred Birds Paying to the Phoenix" to Tianming. seems to prove that even if the active-minded runners take the lead, they cannot defeat the left-behind those who adhere to their duties.The ending of the
video is completely different from the past. The runaway person abandons his persistence in his heart and achieves material success. Generations of left-behind people stick to their true hearts and skills, but they are extremely embarrassed in life. cannot even protect what they want to protect.
Perhaps Wu Tianming had already noticed the bias of his own values, but he still stuck to his beliefs, even if he was bleeding. Pan Laowu in "The River Without Navigation", De Shunye in "Life", Wan Shuiye in "Old Well", and Jiao Sanye in "Hundred Birds Paying to the Phoenix", are all respected elders. is the "moral benchmark" in the film and the left-behind traditional culture.
If you look closely, you will find that they all failed in the fight against their own destiny, and they all more or less passed on their expectations to young men. eventually made the tragedy cycle from generation to generation.
This struggle against the tragic fate comes from the game between human beings for self-worth and destiny. The vigorous vitality and resistance shown by generations of people in this struggle is the most perfect portrayal of the complex, real and rich characters born in the countryside and confined to the countryside, and it is also the most real expression of the inheritance of the destiny of mankind in the Chinese nation from generation to generation.
