The film “The Eleventh” bears the shadow of the play “Six Looking for the Role of Playwright” created by the Italian Nobel Prize winner and playwright Luigi Pirandello. Movies and dramas are telling the story of how a group of people in the drama spare no effort to play their respective roles. In the first ten episodes of “The Eleventh”, all the characters in the movie are performing the social roles they should play. Ma Fuli plays a case party who is struggling to reverse the verdict; Jin Cailing plays a well-mannered market shrew; Hu Quentin plays the role of the theater troupe. The role of the director is still a mess… “Six roles in search of a playwright” begins to the end. A group of men and women on the stage claim to be characters from the script. They have their own script and have experienced their own destiny. They stepped out of the script and wanted to show the true self to the actors in the troupe, and teach them what is the reality of performance. In the eleventh episode of “The Eleventh”, all the characters in the movie no longer “play”, but they become themselves as they really are. Ma Fuli and Jin Cailing were sitting side by side in the car, feeling the happy time of the old husband and wife. Jin Duoduo was driving. At this time, there was no reversal and no abortion. The family was happy; Quentin Hu gave up the director’s signature and performed on the same stage with Jia Meiyi. In the end they kissed affectionately. At this time, there were no directors and actors, no cheating or breaking shoes, only people who loved each other deeply. In the closing scene of “Six Roles of the Playwright”, men and women and children claiming to have walked out of the script once again walked out from behind the scenes and waved to the audience. It turned out that this was a “scam” in the play, and they tore it away. With the label of “I am the person in the play”, they are ordinary actors just like the actors of the troupe. At this moment, they have all become themselves. In other words, “The Eleventh Chapter” and “Six Roles in Search of Playwrights” both talk about a proposition: role-playing and fulfilling role glory. Here comes the problem. Why do you want film and television literature and like to borrow the setting of “character”? Here is to borrow a thinking tool: self (ontology) and object-self (role). The self is myself, a natural person; the guest self is the me in the eyes of others, with a lot of dignity, emotion, self-recognition, positioning, etc. attached to it. Everyone wants to follow the trajectory set by themselves and continue to perform. The characteristic of the self is to live by, as long as you can live with peace of mind, find reasons, weave self-deception and find ways to make up for it, there is no problem. However, the guest self has been disturbed by the outside world. The problems of reputation, dignity, and the role played in life affect their ego day and night, so they all started to run for the society of the object ego. The characters are busy, so their most authentic qualities are changed by the characters’ destiny. This is why Chen Jianbin said: “Life is actually a theater. The actors on the stage are performing, and the audience is also a ‘performance’ in life in another sense.” This is the relationship between the id and the object. ——The drama is the promotion and demotion between the id and the guest. The guest performs the performance, but the performance is something that returns to the essence. From this perspective, the repertory troupe directs a drama, which is a drama, and the performer of the drama is an actor. The characters related to the story of the drama are the audience. Although they are the audience, they are the performers of their own lives. They are the “actors” of their own lives, acting with their own objects. Those who witnessed the living events-Ma Fuli, Pige… are the characters in the play looking for roles (like “Six Roles in Searching for Playwrights”, they are all looking for their own historical role positioning). When life slips and accidents happen, people want to maintain their roles and continue to perform, so there is a contradiction between the object-self (the role) and the self (the ontology). It’s like a recurring scene in the movie: the tractor sliding gear is the meaning. The setbacks in life interrupt the role playing that we are used to, and we can’t find the meaning of performing. Some characters in the movie could not find the meaning of performing, and they died, such as Li Jianshe and Zhao Fengxia; some characters used lies and self-deception to find the meaning of performing, so they continued to perform, such as Ma Fuli. People are performing their own roles, but they are all influenced by the roles. People perform their own roles and continue to play according to the script randomly set by their destiny, and they are affected by the role, and joy, anger, sorrow, and joy will come. Self is the meaning of “natural person”. People are all natural persons. No matter how others obliterate them, they have dignity and have rights and freedoms. However, living in the traditional society of the 80s and 70s, the adultery of his wife Zhao Fengxia was spread out and it obliterated Ma Fuli’s role as a human being. It was very embarrassing and obliterated his dignity as a man, so Ma Fuli would rather go to prison 15 In 1970, he was unwilling to admit his wife’s adultery. He also deceived himself, thinking that he killed Li Jianshe and Zhao Fengxia, so that he finally believed it-Ma Fuli gained the meaning of acting as a role and avoided acting by himself His character suffered a reputational injury. Although he lost 15 years of free time because of imprisonment, he still felt it was worth it because his dignity was not harmed. What Ma Fuli did not expect was that Attorney Bai told him-“Your dignity has long been deprived of the murderer!” Ma Fuli is not care, because only he knows it and truly deprives him of his dignity. It’s the wife’s adultery. He has fetched the so-called “dignity” for himself by transferring the charges and trial by the court. Therefore, Ma Fuli has not felt that he has been deprived of his dignity by the three words “murderer” over the years. Therefore, after entering prison, he is happy, and his male dignity is complete. Therefore, in Ma Fuli’s cognitive scope, his role is complete. Until a huge and irreconcilable contradiction, stepdaughter Jin Duoduo asked him to reverse the case, and his role began to suffer slippage. The movie uses a mirror to constantly show the actors of “I in the mirror”, switching back and forth between real focus and virtual focus. In addition, the role of Ma Fuli in the movie is always standing in front of the monitor, and the image of Ma Fuli is on the TV. In the movie, Ma Fuli, a poor man, is dressed in Versace. This is very funny-but it has profound meaning. It means Ma Fuli is a certain person after being illuminated by historical events, just like being caught by Medusa. The moment I saw it, like a person who was solidified into a rock, he had a fixed role to play and would not change. In the movie, Ma Fuli suffered three life slip incidents. The first time was the tractor sliding gear; the second time was the rehearsal rehearsal of the repertory troupe, which affected his role in life; the third time was when the daughter was pregnant and could not have a murderer father, he had to choose social death. Jin Cailing suffered two slips in her life. The first time she slipped was when her daughter had an unexpected pregnancy. She wanted to play her role as a good mother and her daughter’s life. Don’t become a mother too early, tie yourself a pillow, and take on this life yourself. The sliding gear. The second life slippage was that the unborn child was not allowed to bear the reputation of the offspring of the murderer’s father, so she took her husband to the theater. As the “Ma Fuli Reversal” unfolds, Hu Quentin, Jin Duoduo, Jia Meiyi, Gou Yewu, and Zhen Manyu are involved in the incident one by one. The film shows how the lives of this group of characters have accidents like tractor sliding. According to their original role positioning, how can they no longer play. Quentin Hu’s role as a director can’t go on because of bad directing and extramarital affairs; Jin Duoduo can’t go on acting as a daughter because she suffered an unexpected pregnancy; Jin Cailing can’t play the role of a good mother who teaches her daughter. She suffered her daughter’s unexpected pregnancy; Gou Yewu couldn’t continue acting because the wife he introduced to Quentin Hu was his relative, and Quentin Hu cheated on his marriage. Ye Wu in Cantonese means ostentation and gaffe after drinking. So Gou Yewu went to beat Hu Quentin after drinking, and suffered internal education punishment; Zhen Manyu’s wife could not play the role because her husband Hu Quentin cheated during marriage. ……Although they are not witnesses of the incident, they have encountered the same slippage in life, life’s accidents, and the role can no longer be played. However, “The Eleventh Chapter” is not just about uncovering the scars of the low-level people, watching them make jokes. Playing a rotten hand, letting the character shine, realizing the unity of self and guest, showing the value of ordinary life, life is difficult but can have happiness, is what the movie really wants to tell you. Ma Fuli chose to issue a death certificate, so that his natural identity disappeared and became a surviving individual. It seemed very sad to outsiders, but for Ma Fuli personally, he finally got the approval of his daughter and solved the problem of self and guest. The contradiction between me has gained stability and happiness in my heart. This kind of sacrifice itself is an embarrassing glory. Jia Meiyi-Aunt Mei is a great actor and Quentin Hu is the director Quentin. They are actors and directors. They are looking for the role core and the unity between the roles of the people in the play, as well as their own roles and their hearts. Desire to find unity. Jia Meiyi and Hu Quentin face the slippery gear on the bottleneck of the actors on the one hand, and the slippery gear on the extramarital affairs on the other hand. When Jia Meiyi found the tractor, he realized the unity of the character and the inner core of the character in the play. When they saw the “marriage certificate” on this iron plate, on the one hand, they were divorced and no longer an extramarital affair. On the other hand, Hu Quentin truly loved Jia Meiyi, understood the spiritual core of the roles of Li Jianshe and Zhao Fengxia, and completed the role and foundation. The unification of my inner core also completes the unification of the two roles in reality and the inner inner core of the self. Li Jianshe and Zhao Fengxia, when they died, had already achieved the unity of their roles and self. Others were looking for reasons and reasons, to let their roles continue, and to realize the unity of roles and self. The last rehearsal of the drama in the movie is the final climax of the movie, implying that the people in the play and the people in reality have completed their unity, obtained peace and happiness, and regained their own role glory. To sum up, in one sentence: People, must strive for the glory of their role for their role! This movie, too, everyone is fighting for the glory of their role. In the movie, the glory of Quentin Hu, played by Liu Jinshan, is that his wealth is gone. After the divorce and the division of property, he kisses the muse (the goddess of artistic inspiration) in the heart in the drama-in and out of the drama, he realized that he was born as a human being. For the glory of the role of the director. Dou Jingtong played Jin Duoduo. At the end, she rode an electric three-wheeler, and when she carried her parents forward, she was a girl who was at ease, and she was also accepted, accepted reality, returned to the family, and returned to the glory of her daughter role. The glory of Jia Meiyi played in the spring and summer is to go to the county to find the story of Li Jianshe and Zhao Fengxia, find the insider, find the tractor, and solve the confusion about the role in the heart. It is also because the story of Li Jianshe and Zhao Fengxia solves the feelings The confusion realized the glory of being a person and an actor. Gou Yewu, played by Liu Jinshan, drunk and made trouble in the theater. He stepped on the director Hu Quentin to punish him for his mistakes. With a majestic figure, he stood in the middle of the stage and sang the opera. This is his glory as a veteran of the theater troupe. . The glory of being a father, the glory of being a mother, the glory of being a daughter, the glory of being a drama actor, the glory of being a director, the glory of being a lover of living. This glory gives them the power to break through the narrowness of themselves, and finally complete the unity of spirit and reality, obtain the glory of being a role, and obtain happiness and peace. Throughout the entire “Eleventh Chapter”, there is only one character exception, Fart Brother. As soon as he comes out, he brings his own highlights, and as long as he analyzes it again, he can see that Pi Ge is the most bleakest character in the film. In the movie, Brother Pi said: When someone slaps you on the left cheek, you should also give him the right cheek. The prototype of this is in the “Bible”. Many people think that this sentence means “endurance”, but it is not. In fact, it means “to be a father”, which means a person’s true maturity, which means being close to God the Father. The mythology book says that when a person grows up as a child, dedication is the sign of maturity. Dedication means that you have taken responsibility, you have learned to give charity, you have compassion, and you become a father. So “when someone hits you on the left cheek, you hit the other person on the right cheek too” means-I’m your father. The first slap is opposition, the second slap is father. The fart brother is not thorough, he only knows how to endure and hold on, but in fact he can’t hold on the most. At the end of the first ten episodes, in fact, all the stories to be told in the movie have already been told, so why is the movie called the “eleventh episode”? The eleventh time is to leave the audience’s thinking, let the audience think about how they themselves perform to the self (the ontology) and the object (the role). The eleventh time, you are not any role. This time, I wish you success in playing yourself, get back the glory that belongs to the role, and get a unified and true sense of happiness in your heart. The eleventh time is your life. Life is a frame of film and a drama. After the scene, we each play our own roles, return to our lives, and unfold the social performances of our respective roles. If you are deceived by the character and be your true self, you will find that the bitterness you have eaten, the taste of it, is sweet, and the person who has acted has a clear conscience and is yourself. The eleventh time is a blessing to the audience. Chen Jianbin really achieved the ultimate in film art and drama art in “The Eleventh”.