Lao Huang's original work "Wading through the Sea of Anger" is written quite crisply.
If you have to say that there is anything wrong with Huang Bo's character design in the movie, it is not that he is not a tall and powerful former special forces, but that Huang Bo in the movie is not a person with enough "bastard energy". The lack of this character will cause the psychological foothold of the story to be less convincing when it approaches the "original family". At least from the narrative context of the movie, although it is a broken original family, Huang Bo's personality and basic behavioral logic do not seem to be enough to create such a "lack of love" daughter. Because we believe that, in general-
Children's faults are adults' faults.
In the past, I once thought that this was an epigram, an inevitability brought about by the asymmetry of natural energy. Today, when psychology is becoming more and more prominent, the lack of love has become the original sin of many incredible behaviors, and it has also become the psychological foothold of many movies. The lack of love may be the most important of the many adult mistakes. This is also what director Cao Baoping said in an interview, what this movie wants to say is: love is not taken for granted, love needs to be learned Xi.
Love is an ability, not just an idea.
In this day and age, this is still a significant initiative. Although it is already 2023, learning to love is still a difficult proposition. A lot of things have been changing, and they haven't changed. We can't just analyze the true concentration of love from a person's language, we need to understand love from both the loving and the loved, as a kind of transmission of life energy, the misunderstanding, loss and arrival generated in the process of this transmission.
Lao Jin's reflection is very profound, when he restored a strange fragmented daughter in anger, when he trudged hard in the sea of anger he let go of his anger, and really began to reflect on a question from the outside in, the soul of the movie "Wading through the Sea of Anger" began to play a deep tune: When did I lose my daughter?
Lao Jin realized that he was not at the moment when he saw the body of his daughter with 17 knives in his body, not at the moment when she was killed, not at the moment when she took her daughter's unbearable ** to seek revenge, or even at the moment when Lao Jin was angry and decided to send her to Japan. When Lao Jin waded through the sea of anger, he finally realized that the loss of his daughter happened earlier, inadvertently, even naturally, in every departure, every neglect, every indifference, "happened at the moment when I, as a father, could no longer provide security in her heart." ”
* And the movie, the premium all, is right at this turn.
An angry avenger, in the process of searching for **, finds his disappeared daughter.
In the movie, in addition to the daughter's love brain, mania and manic depression, Cao Baoping decided to use a more impactful imagery - a cabinet full of the sun - a typical image of a dark and restless heart, echoing from beginning to end, and at the same time cooperating with the 17 knives of self-harm to construct this cruel and unbearable "lack and loss", when realizing why his daughter would easily fall in love with a "person like that", in the reflection of the sea of anger:
shows what kind of person Lao Jin himself is.
In **, Lao Jin is more like a bastard, he always thinks that his daughter wants money when she contacts him;In the movie, Lao Jin was given two very important lines: On this island, who dares to touch my Lao Jin's daughter;My old Jin has been ruined by you in this life. He is still a typical "patriarch". I don't know why, but when I wrote this, a golden sentence that Huang Xiaoming was proud of suddenly appeared in my mind: I don't want you to think, I want me to feel. The same sentence is very different in the mouths of fathers and daughters, and even in the mouths of mothers and sons (I almost forgot that there is a pair of equally estranged abnormal mothers and sons).
I don't know why the director let the typhoon carry the fish from the sky, which of course reminds people of the frog rain in Paul Thomas Anderson's "Magnolia", which also gives the film a bit of modern consciousness and avant-garde color. But I can only roughly understand that this is a homonym of fish and foolishness, the ultimate mockery of what the golden meteorite wants and can't, and like "Magnolia", it is a judgment of unknown forces - like God's millstone, which grinds slowly but very finely. The visual impact has nothing to do with the grand purpose, the vision refers to, salvation and love.
The courage to face it requires more consciousness than anger.
The really powerful mark is always secret, making your throat tremble, the tip of your liver tremble, and you can't help but clench the snow in your heart. The softest and hardest psychological defense line in "Wading through the Sea of Anger" is at the moment when Lao Jin breaks off "gold". When the tide of anger ebbs, it is the riverbed of old gold's barren love, the real boundless remorse, the paleness that really burns the heart, the hand-painted, and blood-painted sunshine that can never really emit warm power in the closet.
The wardrobe in another country, the wardrobe on the island, the long echo is enough to make anger admit that he is just a shameless ember in a despicable life. In "Wading Through the Sea of Wrath", the golden meteorite wades like Moses and seems to split the sea of anger dyed red, but in fact, none of the characters in the movie actually go to the Promised Land.
This is probably the basic dialectical relationship between anger and incompetence.
Author: Jiang Nannan **Dawan News).