In 1990, Hong Kong has not yet returned, director Xu Anhua made a semi-autobiographical work, in which Lu Xiaofen played the prototype of her mother (I don't know how many people think that her mother was played by Zhang Aijia), in fact, Xu Anhua's mother, the two are also Japanese women, after marrying to China, they wandered with their husbands for half a lifetime;
The prototype of Xiao En, played by Maggie Cheung, is Xu Anhua himself, and the two also traveled to Hong Kong, Japan and the United Kingdom. Xiao En's delicate mother-daughter relationship with his mother, presumably Xu Anhua also experienced with his mother when he was young, so he could shoot this 1990 "Ketu Autumn Hate" so deeply and delicately and movingly, douban was as high as 8.5 points.
Compared with "Woman Forty", "Day and Night in Tin Shui Wai", and "Sister Tao", this "Ketu Autumn Hate" produced by Hu Jinquan and Wang Yu is Xu Anhua's favorite. For Xu Anhua, "Ketu Autumn Hate" is their favorite work, just like "Blood Street" is to Wu Yusen.
First, mom's hometown and guest journey
Xiao En's mother in her memory is silent, strict and gloomy, compared to such a mother, she prefers to be close to herself and protect her grandparents, because she does not know that her mother is not actually Chinese.
Mom's hometown is Beppu, and the guest route is "Manchuria" and Hong Kong.
After the defeat of Japan, Dad saved Mom's little nephew, the two met and fell in love, knowing that Mom wanted to return to Japan, Dad opened his mouth to keep, he hopes she can stay forever.
Under the fire of war, the ladies of the famous And famous Japanese families and the Chinese translation officers fell in love, and such a combination was certainly not accepted by the people of the time.
After the mother married in, it was inevitable that she would suffer from the white eyes of the husband's family, the language barrier, the eating habits of a foreign country, all of which made this Japanese woman feel bitter, and the mother was a woman who came to China for love and gave up everything in her hometown.
My mother's approach often reminds me of a debate in "Strange Story" - should I drop everything and go to the other half of the city? Obviously, mom is on the opposite side, she not only went to the other half of the city, she gave up everything in her homeland and went to another country.
When Zhan Qingyun answered this question, he said: Letting go is never the price of growth, letting go is growth itself.
Indeed, for her mother, letting go of everything in her hometown belongs to her growth, because at first she came to "Manchuria" because of a lost love and gambling, not because the exotic style of "Manchuria" attracted her, let alone for study, she just couldn't accept that the people she loved deeply didn't love her, and she "fled" to China.
And finally choosing to stay in China for love, isn't it the most beautiful sign of a young girl growing into a woman?
Although the language is different, the diet is not used to it, and the white eyes of the in-laws, the people around him are the people he loves, he will cherish the in-laws' sneers at her, he will spoil her not to clean, and will only play mahjong.
And she didn't have to walk the streets of Boston like Zhan Qingyun, watching the fallen leaves fall from the sky, and lamenting why she should leave the person she loved most at the best age.
In the autumn of "Manchuria", although it is a foreign country, she has the most loved man in her life, which is enough.
Second, Xiao En's hometown and guest journey
If my mother's nostalgia is: the distance has become my current home, and the home has become my current faraway;
Then Xiao En's nostalgia is the loneliness of returning to the family after leaving his grandparents to raise his own Macao at the age of fifteen, and he is not understood by his family, and the nostalgia of being at home but no one understands is a contradiction between generations.
Xiao En's hometown is Macau, and the road is London and Hong Kong.
Xiao En, because of his sister's marriage, returned to Hong Kong from england to visit his mother and sister, and the mother and daughter who had not seen her for a long time did not greet her warm and intimate like in the normal family, and what she waited for was that her mother saw herself and cared about the Guangzhou where her grandparents were located.
It is the sister who blames herself for not understanding her mother, but for a daughter who has been away from home to study at the age of fifteen, what about the understanding of her mother?
The real understanding of the mother is from Xiao En's mother to Japan, just like her mother married in Manchuria when she was far away, she couldn't understand what others said, even if she accidentally picked the fruit that the farmer had just sprayed with pesticides, she would misinterpret the goodwill reminders of others as malicious, and you can imagine that the mother was sad at that time.
The style of the film's lines is concise and simple, but two sentences are repeated four or five times, but they do not make me feel redundant and cumbersome.
Whenever my mother saw an acquaintance when she was young, she did not tire of telling each other: Xiao En had just returned from a British university and finished her master's degree, and her younger daughter had just married and married into Canada.
The tone is full of pride for Xiao En, and the show off to her former friends, the early death of her husband, the closest daughter married out at the earliest, the only thing she deserves to be relieved and thankful for is Xiao En around her.
Mother once said to Xiao En: True, the closer you are, the farther you are, the more you are closer.
Indeed, the daughter who has never dealt with the daughter who studied in the Uk has now chosen to stay in Hong Kong to work and accompany herself; the daughter who has always been close to her has married the fastest and the farthest.
This is very similar to Ang Lee's "Eating Men and Women", the eldest daughter believes in Christianity, self-denial, just to stay with her father; the second daughter and her father have the worst relationship and are eager to move out in the morning; the younger daughter and her father are the most intimate, they are in college, and their father will wake himself up.
But the result is that the younger daughter is pregnant before marriage, the first to marry out, the eldest daughter bravely pursues the physical education teacher, and also moves out after the younger daughter, leaving only the second daughter to stay with her father.
Third, Grandpa's hometown and guest journey
Grandpa didn't play much, but I was very impressed by grandpa, and the reason why Grandpa left Macau when Xiao En was fifteen years old was because he wanted to return to Guangzhou and serve the motherland that he and his uncle had in mind.
Grandpa's hometown is Guangzhou, and the guest route is Macau.
But Grandpa's ending, but not necessarily by his heart of the homeland to treat, he wanted to send a copy of the "Song Ci Anthology" to his granddaughter, but was interrogated, when he returned home, his eyes were black, and he fell to the ground and suffered a stroke.
Grandpa obeyed his father's will, learned Chinese medicine, gave up his favorite Western medicine, practiced medicine for half a life, and served the people, but in the end, the only thing to be thankful for was the old age when he could still fall leaves and return to his roots.
But Grandpa was still full of expectations for the motherland, and he said to his granddaughter: Xiao En, don't be disappointed in China!
Xiao En was sad, and what she thought to herself was that this old man's stomach could no longer bear the weight of his granddaughter.
This sentence also takes care of Xiao En's childhood, when she was a child, she liked to sleep on her grandfather's stomach, grandpa is leaving, and the harbor where Xiao En can bear nostalgia will disappear.
And the impression of playing mahjong, elegant and generous grandma is no longer the same as it was then, her hair is scattered, holding the elbow that was bitten by her grandson, crying alone in the kitchen.
The hardships of life and the hardships of taking care of grandchildren have made this woman's former elegance disappear.
And the woman she used to ridicule only boil raw and cold things, but this "distant home" was transformed into a Cantonese teacher who returned to Japan to dislike raw food and missEd Cantonese food and beautiful soup.
"Ketu Autumn Hate" adopts a narrative mixed with childhood memories when it is now in progress, and it is also borrowed and imitated by later filmmakers, such as "The Cultivation of Ordinary Women", which adopts the narrative method of this film, and the delicate style of director Xu Anhua can be inherited and retained, which is the greatest affirmation and respect for her in this era.
The cool breeze has faith, the autumn moon is boundless, and the emotions of my sijiao are like living like a year. (Author: Song Juhan)