Tang Hede took photos to cherish the memory of Leslie Cheung: April 1 was the 18th anniversary of Leslie Cheung’s death. Just after midnight, Tang Hede posted his brother’s old photos on social platforms in memory of his brother, with the text: “Miss you!” Brother, everyone missed you very much.
For me personally, compared to Leslie Cheung’s own life or his music works, it is his film works that have more memorable points. Of course, this is not to say that his life is not legendary enough-in fact, whether it is the pinnacle of an artist’s position or the love story in life, he is already a legend. This is not to say that his music is not outstanding enough-even aside from his grades, his sense of language and music is already surprising. However, Leslie Cheung participated in two top-ranked works in the Chinese film world that are very qualified to stay in the history, “Farewell My Concubine” and “Happy Together”. The great success of these two films, of course, has an important connection with Leslie Cheung’s acting skills. Cheng Dieyi and He Baorong are almost invisible to the traces of performance and design, as if this is Leslie Cheung himself. However, it is absolutely impossible to create the top level of the film’s overall artistic level with the work of actors alone. The success of the two films is the success of Leslie Cheung, and even more the success of the director. Leslie Cheung’s outstanding performance constitutes an important part of the film’s success. He is bestowed on the work and is also rewarded by the work. But on the other hand, it is very coincidental that the two characters He Baorong and Cheng Dieyi seem to be two sides of a coin, forming a certain correspondence with Leslie Cheung himself from the perspective of life and art. In “Happy Together”, Wong Kar-wai created the image of “waterfall” to symbolize He Baorong and Lai Yaohui’s longing for pure love. Lai Yiuhui and Ho Baorong came to Buenos Aires away from Hong Kong. The Portuguese and Cantonese spoken by the two of them violated the surrounding Portuguese, suggesting that the two “came to a place cut off from their daily lives”. This kind of escape from real life—-They have to cut off themselves and everything in the real world that are connected with them, in order to remove the obstacles of same-sex love, and realize the ultimate goal of this relationship in a distant foreign country-the soul Connect with each other and have each other’s perfection. As for Li Yaohui, He Baorong’s uncontrollable emotions and the embarrassment of material life made him realize the unavailability of this kind of love in his heart, and gradually came up with the idea of detaching from love and returning to the real world—Back Hong Kong. In the first half of their relationship, Wong Kar-wai meticulously expressed Ho Baorong’s incompetence and even rogue in the reality of daily life. This constitutes Lai Yaohui’s consciousness of “pure love is not available” and “let go of love and return to daily life”. The birth of transformation—He pursues pure love with He Baorong, but pure love cannot conceal the trouble and disgust He Baorong gives him in reality. He realizes that love is not feasible in reality after all. In order to express Lai Yaohui’s state, Wong Kar-wai arranged Zhang Zhen’s appearance, allowing Lai Yaohui and Zhang Zhen to communicate in Mandarin to show the change of Lai Yaohui’s mentality. At the same time, Wong Kar-wai used a scene in which Lai Yaohui was photographed for Hong Kong tourists, letting Lai Yaohui speak Cantonese, and through the lens of Lai Yaohui’s lonely drinking, it showed Lai Yaohui’s desire to return to Hong Kong and self-pity for the shadows. However, on the other hand, He Baorong became the embodiment of Li Yaohui’s residual yearning for love. He appeared from time to time and disappeared, sometimes affectionate and sometimes slutty, always involved in Li Yaohui’s feelings, so that Li Yaohui could not let go of this love, and even stole Li Yaohui’s passport, making his symbolic meaning more clear-he became The de facto obstructors prevented Lai Yaohui from returning to Hong Kong. In this way, Wong Kar-wai hinted at the symbolic meaning of He Baorong to Lai Yaohui: He is the carrier of Lai Yaohui’s nostalgia for love, which prevents him from letting go of his feelings and returning to the real world. It was not until the encounter with Zhang Zhen that Li Yaohui finally strengthened his conviction, put aside He Baorong, and returned to Hong Kong. At this time, Wang Jiawei let Li Yaohui come to the Great Falls—the place he and Baorong He have been yearning for, the ultimate goal of their love, but everything is considered “unavailable in the past.” At the end, for the finishing touch, Wong Kar-wai once again arranged for Lai Yaohui and Zhang Zhen to meet in Taiwan—the two who once exiled themselves away from the life around them, and finally returned to their own real world. He Baorong has become a demonstration of indulging in love in vain of reality, and can only sink into the dance with Li Yaohui. With the help of this film, Wong Kar-wai expresses the inevitable conflict and unrealization of pure love and reality, and the love of Lai Yaohui, which is gradually disappeared by reality over time—all the spiritual beauty follows the time of objective reality. Change and no longer exist. He Baorong’s life seems to coincide with Leslie Cheung. It is difficult for us to determine whether Leslie Cheung has also experienced He Baorong’s inner entanglement and even self-exile from time to time. Fortunately, Leslie Cheung is luckier than He Baorong in this regard. In “Farewell My Concubine”, Chen Kaige used the entire epic narrative to connect a large picture scroll of Chinese history from the end of Qing Dynasty to the Cultural Revolution for half a century. Such an epic, laid the film’s grandeur and high vision. This is the first floor. Chen Kaige placed the characters in such a grand historical environment, allowing his individual destiny to be closely connected with historical events, and thus condensed and expressed the changes in contemporary Chinese history with the help of the changes in his personal life. This is the second layer. Going a step further, Chen Kaige actually secretly expressed his historical viewpoint and creative attitude. Comparing the personal encounters in various historical events from the end of the Qing Dynasty to the Cultural Revolution, we can see that in a series of historical changes, Cheng Dieyi’s life has always been tortured by various conditions, and his dedication to art, his The realization of the pure heart for love in the historical environment of any era is also gradually deteriorating — to perform on stage during the War of Resistance Against Japan, and still get the understanding and applause of the Japanese Aoki; and after the War of Resistance Against Japan, He was boycotted as a traitor, but he was still able to perform on stage and realize his artistic ambitions; but in the last era, he had completely lost the opportunity to appear on stage. In other words, in the process of gradually pushing the timeline into the contemporary era, the tragic life of his life as Cheng Dieyi has become greater and greater, and his dramatic life as an artist and as Yu Ji has gradually become It can’t be realized—the same-sex love between him and Duan Xiaolou is a concrete representation of the love between Yu Ji and Xiang Yu. And his drama pursuit as Yu Ji (love for Xiang Yu), together with his love and life tragedy as Cheng Dieyi, gradually deteriorated with the changes of the times. In the end, at the time of the last historical event, the huge persecution made Cheng Dieyi lose the opportunity to perform on stage, and Duan Xiaolou was also forced to abandon him. That is to say, this time, he was not only persecuted as Cheng Dieyi, but also as Yu Ji’s artistic life was destroyed-unable to sing, Xiang Yu left. This kind of strong contrast actually points out Chen Kaige’s own historical viewpoint: the historical process of contemporary China, which is generally varied and ideological, is in fact a process of gradual deterioration—gradually “modernization”. “The system and doctrine of “In fact, it is more and more severe damage to traditional art. Traditional rules and style have been gradually obliterated with the passage of time.” Moreover, in that last disaster, the art that had not been completely wiped out in the previous era was completely blocked. Therefore, the last major event and disaster are undoubtedly more serious and devastating than the previous ones. In fact, apart from this movie, Chen Zhongshi’s “White Deer Plain” is also such an expression mode: for farmers, from feudal monarchy to warlord, to capitalism, and beyond, any leadership level consciousness The change in form is just a change in the way of oppression for them, and there is no essential difference-they still grow their own land and pay their own public food. However, by the end of the novel, everything has changed more fundamentally than before: Heiwa, the “most vitality in the land”, was shot down by his childhood playmate who joined the army, and it exists in any era. The White Deer in China is also “fading away”—compared to the past, only this last time, the fundamental human nature has been distorted, and the fresh vitality of this land that has been maintained throughout the long years has also been distorted. Obliterated. On top of this, the film has the highest fourth layer, which is also the place that best reflects Chen Kaige’s inspiration. In this movie, Cheng Dieyi’s life has been tortured by the surrounding environment and social morality under different eras-he fled in embarrassment when faced with the former Qing eunuch’s pleas for the performers; he confronted Duan Xiao Lou’s love has never been admitted, but the social entanglements and sophistication that came under the admiration of the Republic of China caused him confusion; wanting to sing during the Anti-Japanese Period was also misinterpreted as a traitor. It can be said that he has always been suppressed and distressed in the unpredictable society, and this unfavorable situation actually comes from himself—he is a man who only has art in his heart, and is ignorant and insensitive to the real world. people. In the last incident, his artistic path was finally completely wiped out, and the love that accompanies “Xiang Yu Yuji’s love” was also destroyed by his lover himself. At this time, he chose to be on the stage. Suddenly died. At this point, the suffering he endured as Cheng Dieyi turned into the suffering that Yu Ji suffered when Xiang Yu accompanied Xiang Yu in retreat, and his suicide turned into Yu Ji who accompanied Xiang Yu to commit suicide. It can be said that at the end of the film, through Cheng Dieyi’s suicide, Chen Kaige expressed two meanings: first, he was repeatedly persecuted by the times, and finally deprived of art. This shows that he is here as Cheng Dieyi. Unable to survive in the real world—He is a pure artist, who can only survive on the stage instead of real life; and, as he mutilates himself, he and the Yuji he plays, from the process of suffering and the final ending, They all reached a complete unity, and as a result, he truly became Yu Ji-all the previous sufferings have become the only way for him to finally unify the drama. Therefore, this time he squatted himself, making his tragedy as Cheng Dieyi and his art as a performer of Yu Ji reached the highest point at the same moment. From this point of view, everything before this movie and the torture of Cheng Dieyi under various times have become the most extreme process in which he becomes Yu Ji and climbs to the extreme of art. In fact, the fourth highest level of expression has been very intuitively manifested from the first scene of the film’s opening. Chen Kaige used the perspective of the characters to emphasize the space where the characters are located: the stadium, and twice gave a large panoramic view of the empty gymnasium. In this way, Chen Kaige intensified a sense of disharmony between the characters in costumes and the surrounding environment-they were ready to sing, but the Peking Opera stage they were familiar with actually no longer existed, and replaced by the gymnasium. This sense of disobedience is self-evident, and it has already pointed out the ultimate fate of the character: the obliteration of artistic life in the real world. From the plot level of this paragraph, Chen Kaige’s handling is also very delicate. First of all, Duan Xiaolou and Cheng Dieyi left and right, and facing the discussion of the gymnasium administrator, only Duan Xiaolou responded, while Cheng Dieyi never communicated. This shows the inner difference between the two: Compared to Duan Xiaolou, who is secular and coping with social relationships, Cheng Dieyi is a person who is innocent and obsessed with art. This kind of character contrast has actually provided a foundation for all the confusion and pain of Cheng Dieyi in this movie: because he is devoted to art, he is bound to be intolerable by the real world. In addition, in this conversation, the sentence “It’s all caused by the Gang of Four” was also pointed out, combined with Duan Xiaolou’s mechanical and bitter response when facing “It’s okay now”, which led to the ultimate destruction of Cheng Dieyi’s life. , It also eventually obliterated the existence of art and could no longer make up for the historical event, which led to Chen Kaige’s expression of self-historical view. On the other hand, in the interaction between Cheng Dieyi and Duan Xiaolou, he was obviously the one who remembered the time of their cooperation and the date of separation more firmly. This not only illustrates his loyalty as Cheng Dieyi to love and repels all external disturbances, and the accompanying “unsophisticated”, it also illustrates his deep emotional devotion to Xiang Yu as Yuji—as an artist’s drama Unity. In the last shot of the scene, the chasing light turns on and other lights disappear. In such a scene, the gymnasium full of sense of conflict with Peking Opera seems to have disappeared, and only two people standing under the chasing lights and surrounded by darkness. This picture actually constitutes a switch from the real world to the art world—the real stadium is hidden in the dark, and what replaces it is the “stage” of art. And so far, this opening scene is over. This last picture effectively strengthens the theme of the film: In the real world, Cheng Dieyi’s life and art are suppressed and obliterated, which is reflected in his sense of disobedience with the gymnasium; but His life is bound to bloom in the unreal world of art-the disappearance of the gymnasium and the emergence of the artistic “stage”. And this is precisely the response to Cheng Dieyi’s ending–he used suicide to completely leave the real world he was struggling to deal with, and achieved the highest artistic realm of Yu Ji in the form of suicide. I am completely involved in art. At the end of the film, Cheng Die is dressed in a gymnasium with “dark surroundings and only light in itself”, as if he had escaped from the real world and entered the pure art world. And in this world, he was finally able to realize his artistic pursuit and emotional sustenance, and to return to Yu Ji and Xiang Yu with Duan Xiaolou, realizing the artistic realm of love and drama that he yearned for in his life. And the ending that has been foreshadowed many times before is finally led out: As Yuji, Cheng Dieyi drew his sword and snarled himself, bid farewell to the real world that suppressed his artistic pursuit, and entered the art world. His life tragedy that love is not available, and the artistic realm of Yu Ji as a performer, have also reached the highest peak of synchronization by this. It can be said that the creator used great spirituality to come up with the most suitable, or even the only suitable ending method, and successfully caught the grand and tragic epic in the previous movie, giving the finishing touch to the dragon. When faced with the amendments to the ending during the review, Chen Kaige’s words represented the significance of the ending: “I can’t change it, because only if it ends in this way, it is Farewell My Concubine.” Cheng Dieyi is undoubtedly a portrayal of Leslie Cheung on the road of art. Cheng Dieyi’s artistic ideal has been suppressed in the real world, but he has always maintained the artist’s pure self. Such an image projected the profile of Leslie Cheung himself-not only a performance deeply integrated into the role, but also a figure singing “I” as a musician. These two roles overlap with Leslie Cheung’s life, and it is even difficult to tell whether this is an excellent acting skill or a representation of the self. But from a certain perspective, the end of Cheng Dieyi and He Baorong, the deep sadness they represent, is something that no one wants to see in Leslie Cheung himself. Everyone is more willing to see, and more willing to believe, that “this is Leslie Cheung’s own status” “real appearance”, may all be the young thief in “Across the World”. He leaned against the bridge, acquiesced to the painter’s sketch, waiting for the moment when the prey set off, his eyes were filled with uncontrollable excitement and anticipation. When he set out, as if remembering something, he suddenly turned his head and shouted to the painter, his smile fluttering wildly. “I’m Gang Yang! Read the newspaper tomorrow.”