How to treat the significance of China's traditional cultural inheritance in the film "A Hundred Birds at the Phoenix"

The sigh never stopped at the moment when the camera slowly pushed away the northwest scenery. The simplicity and sureness of the yellow land have crossed the corridor of the years, as if an old man were telling the story of that year, and those unknown past events need to be witnessed one by one. Take a deep breath, fortunately.

In this film, there are no performances, only statements; There is no drama, only life. Everything seems to happen naturally. In the rotation and interaction of the four seasons, under the change of the sun, the moon and the sky, the suona sound penetrated the history of layers of overlapping and blending, and for three days, it turned into a shallow singing and gradually lost its sound. This era, earth-shaking, these days, we can't find those craftsmen who walk the streets. Powerlessness fills every inch of skin and every cell, but after all, you know that tomorrow is the one who will never look back.

As the last work of the fourth generation director Wu, "Birds at the Phoenix" is still based on the folk culture of the older generation in China, which he is best at. It tells the story of suona's decline from its once awe-inspiring and indispensable position to the present, shows the ever-changing changes in China society, and finely depicts the mentoring feelings of two generations of suona craftsmen.

Compared with Old Well and Face/Pass, A Hundred Birds Facing the Phoenix is undoubtedly more mature and harmonious. Less drama conflicts and more restrained emotions make the tone of the whole movie cold and silent. The suona on Channel 8 is not as lively as it should be. From the perspective of onlookers, it is more like a kind of persistent obsession and loneliness of "despite thousands of people going".

At the end of the curtain, only two people looked at each other in front of the tombstone. If the dead are still there, there is only one stage left.

"Birds in the Phoenix" aims at the growth of a pair of teachers and apprentices, expressing the concept of "inheritance" and remembering the "rules" that have been left behind and ridiculed. When Jiao, who used to sit in a plush chair, swallowed his blood and beat gongs and drums, when Aquamarine, who used to be proud of suona, shook his head jokingly, when Jiao Jiaban's other disciples packed their bags one after another, but their eyes were out of focus and confused, and when he was disappointed and sighed, especially when he was faced with a beggar-like suona craftsman in a big city, all his persistence collapsed in an instant, threatening and being caught off guard.

How long ago the oath was still in my ear, and the promise I made was still vivid, but the suona sound had come to an abrupt end, and what was fixed on the picture was the rolling world of mortals rushing by. There are too many sorrows and joys in my heart, like the sorrows and joys that once sounded in suona, which are gone forever, leaving a few trivial sighs that will eventually disappear.

Things are human beings, and people are not.

In fact, this kind of substitution is inevitable under the force majeure of social progress, but the decline of a culture is always disturbing. The elimination of suona is fundamentally due to the choice of the public, but-

There are too many regrets, and traditional craftsmanship has become a cold "intangible cultural heritage";

The lost stunt has become a record on the historical page, which contains endless regrets;

No young people are willing to inherit the mantle and carry the last pulse of suona in Wu Shuang town;

At this moment, "A Hundred Birds at the Phoenix" has become a masterpiece, and there is no reply in the streets and lanes.

As far as the film is concerned, it is not perfect on the whole, except for the thoughtless emotion caused by emotion. Under the hat of "cultural call", there are old routines and grandstanding that are coming to an end. The director's desire to attract attention and attention is too enthusiastic, even more eager for quick success than the calm and frank narrative in previous plays.

Actually, it shouldn't be like this. Viewers are not blind recipients of information. People who are willing to choose this movie to step into the cinema are more eager for some blank thinking space, without exaggeration or screaming. Tao Zeru's eyes are enough to inquire about the real life environment of craftsmen. There are ups and downs here, but the road ahead is infinite.