This film can be compared with Once upon a time in America. It not only tells a story, but also depicts a portrait of a character in a very simple way. It expresses an emotion related to time and years. This kind of emotion haunts it from beginning to end, that is, the rational examination and emotional nostalgia for the lost youth. Although Jiang Wen adapted Wang's novels, he told his own understanding of youth and conveyed everyone's mood, which was really infectious. As Jiang Wen's directorial debut, it accurately depicts the hazy emotional relationship between men and women, and properly examines that era-even if it is not evaluated, it can be experienced by the audience.
At first, Xia did nothing in his hometown in Shandong. It was his father who saw the actor's advertisement in the newspaper and encouraged him to have a try. As a result, he was hired because he looked like Jiang when he was young. As a leading actor, he performed better than a professional actor with no performance experience and won many awards, including the Venice Film Festival. In fact, actresses such as Yu Xia, Jingjing, Geng Le and Hong Tao, and actors born in 1969 all performed very well in this film, which is much better than the fresh meat and flowers in those messy youth films now. Sadly, they didn't seem to develop well, and some talents disappeared.
However, they are still powerful actors. It would be very interesting if they made another film together. Ma Xiaojun, the hero of Sunny Days, has not only the rebellious behavior of young people towards adult society, but also the confusion and loss of control of love. From this perspective, he is undoubtedly the most standard hero in youth movies. But the excavation of ginger didn't stop there. He tried to explore the deep motivation behind the superficial phenomenon. Of course, human psychology is a very complex organization. Jiang may not be proficient in Freud and Jung, and it is impossible to deconstruct from a macro perspective. But as a man of the same age as Ma, he can analyze this generation according to his own growth experience. This also constitutes the internal pillar and central idea of the whole film. While using Wang Wenben, Jiang also carried out substantial transformation on it. Through skill, this seemingly indistinguishable story adds its own theme. His series of designs and ideas almost played a certain role in the film, making the film far beyond the limitations of youth films.
First of all, because all youth movies are bound to involve many love elements, Jiang used many new ideas. In the film, Ma fell madly in love with Milan, but Milan turned to Liu. Finally, the horse lost patience. At this time, Jiang unveiled the mystery: all this is a horse's fantasy. Taking this as a starting point, it is not difficult to find that Ma's inferiority complex profoundly interprets this character: in the whole movie, he exudes a sense of loss of dignity.
Specifically, in the duel between Ma and Liu, Ma's jealousy and jealousy towards Liu were quietly manifested many times. When Liu appeared for the first time, as a commentator, the adult horse said: He is very handsome and often brings many girls from other courts to play. Correspondingly, when everyone was fighting with the child who abandoned the big ant to help him bathe, Ma was asked, "If we don't support you, do you dare to go?" When he was a little embarrassed and angry, he shouted, "How dare you!" . When Liu shot, the horse took a look at Liu, picked up the gun and fired. When Liu saw it, he was very angry. He scolded the upright ant. Such details are extremely rich, which inadvertently caused Ma to be jealous of Liu, and he wanted to restore his dignity in front of himself.