Yang guang can lan de ri zi

I have many classemates that come from Jun Qv Da Yuan(military region), who act exactly as those in the film. In those days(since 1972), there wasnt so much on concern in our mind, hence fighting against the children from other section in the military region became the only extracurriculum activity. Here Id like to express my admire for Jiang Wen, who shot this movie successfully from the first point of view. Thanks!

Before watching In the heart of the sun, I have not seen Jiang Wen's film less. Today I want to use this movie to talk about the influence that Jiang Wen has brought to me. This movie is not too late to watch, it is more like keeping a precious to watch. After all, the previous works that I seen of Director Jiang gave me too much shock, so his " Virgin works" must be kept for the final to watch. I have tried to write some film reviews of his works before, but most of them have been holding back for a long time. I don't know how write these film reviews. I only have those key words, exaggerated performances, rich rhythmic images, and black humor? For future works, these are indeed all. But Virgo is different. This is the first work of fresh blood entering the film industry. Talent and spirit are the most abundant time, and ignorant works must be very interesting.

The film is called In heart of the sun, but I think it should be called Jiang Wen's heart of the sun. The background of the story is Beijing during the Cultural Revolution. It is the time when Jiang Wen lived where he grew. The story takes place in the place where he grew up, and the actors are more like his childhood. People in memory. There are a few buddies who are crazy every day, the girls who like, and the "fools" who are lingering in my memory. In the context of the times, the Cultural Revolution was not an era that was shining in the sun, but aside from the background, we returned to the little people. In that era when there were no mobile phones and naive ideas, these children who grew up in the compound brought the audience to a perfect experience from the films. A different experience. In this group of small groups, they all live happily and freely, as if they are isolated from the outside world. They do what they like, have their own dreams, have girls they like, and have countless troubles. At first glance, it seems to be no different from the children nowadays, isn't it just a bunch of kids running wild. Yes, this group of children presents the last sunshine under the political wall for a generation. Sometimes I am quite envious of children of this age, carefree, without mobile phones or computers, without any external fragmented information interference, and it can be regarded as a pure world. Jiang Wen photographed a era when he was a child, and photographed the best aspect that audiovisual language can present to the audience. His audiovisual creative talents made me fascinated by the rhythmic sense of his movies, not only the shock brought by the rhythm of the music, but also the feeling of matching the music and the picture.

In any case, from the memory in the bones of a generation of people in the siege to the memory being processed into art products, his films always bring surprises and inspiration to me.

This film is an excellent depiction of how people construct narratives of their own past. They take what they like, exaggerate those aspects, try to fit it into a coherent story. They try to construct stories that depict them as who they want to be. People may tell these constructed stories to others, but they also try to convince themselves of the veracity of their constructed stories. This movie explores these ideas in a very powerful way, through the viewpoint of a boy growing up. I found it especially meaningful because I can personally relate to it. I'm not going to spoil the best scenes for you by telling you the way in which the ideas are presented.

Due to lack of adult supervision during the Chinese Cultural Revolution, the mischievous boys of military fathers are free to spend their summer left to their own devices. Too young to join other youths working in the countryside, they spend their time riding their bikes, getting into gang fights, picking up girls, and asserting their masculinity. Chosen as one of 100 best Chinese films of the century by Asia Weekly Magazine, Wen Jiang's In the Heat of the Sun is a coming of age story set in Beijing in the 1970s after the Red Guards had been disbanded. The first film by a sixth generation Chinese director, it played to packed audiences of young people when it first opened in Beijing in 1995, but has never been released in North America.

In the Heat of the Sun is based on the novel "Wild Beast" by Wang Shou, a controversial Chinese author who has written many stories about rebellious teenagers. The film is a subjective recollection about a group of friends who meet when their Army dads are shipped out to support Chairman Mao in 1969, recollections embellished by the narrator's fanciful memory. Steeped in eroticism and youth violence, it is a sharp turn from the melodramatic epics of the early 1990s that interpreted China's past as a time of sexual repression. Jiang does not wallow in marketable clichés or make a special appeal to Western audiences but, like the young people in the film, imparts to the work a freshness and authenticity that sets it apart.

The film stars 17-year old Yu Xia as "Monkey" Ma Xiaojun, a rebellious teenager who is a stand-in for the director as a young man. Xia (whose name translates as 'Summer Rain') won the award for best actor at the 1994 Venice Film Festival, the youngest actor ever to win this award. Narrated by the director who is also a popular Chinese actor, the opening narration tells us that "Peking has changed so fast. In 20 years, it's become a modern city. Almost nothing is as I remembered. Change has wiped out my memories. I can't tell what's imagined from what's real." The film's leitmotif is introduced almost immediately and we understand the reason for the title. "My stories always take place in summer", the narrator continues.

"The sunlight was so relentless, so bright, that our eyes were washed in waves of blackness. In the Heat of the Sun. In the raging storms of Revolution. The soldiers' hearts turn towards the sun." During that summer, Monkey acts out fantasies that make him feel like a hero and talks about characters from Russian novels and films dealing with revolutionary heroes searching for glory. He imagines himself standing up to bullies and enemies of the state in an imagined World War III and, in his fantasy, is willing to die for his country and his honor with women. He fights for his group, sending a rival gang member to the hospital for a month, sneaks into people's apartments with a self-made key (though he never steals anything), and watches films banned as inappropriate for children by the authorities.

Monkey's main focus, unsurprisingly, is a girl whose portrait hanging on the wall of an apartment he let himself into is immediately captivating. His pursuit of Mi Lan (Ning Jing), who is a few years older than him, is, however, fraught with rejection, jealousy of group leader Liu Yiku, and passion that veers out of control. Although Jiang problematically redefines the Cultural Revolution as a period of spontaneity and freedom rather than dislocation and chaos, the film is not about politics but about the perilous transition from adolescence to maturity. Unlike other coming of age films, it is not a reflection of sadness and longing but an odyssey filled with the excitement of a new found freedom and revolutionary ardor.

it reminds us of the first love we had long ago, and nothing can restrain the passion of those young with full of confusion and possibilities. We are always amazed by those colorful characters formed under the certain political time. This film has successfully reached to the part that all human beings share with no matter what political conditions. Although the specific time is long gone and would never come back to China, those old, pure and simplified memories would never fate away. It will always be part of the history and part of us. It is not that simple to tag that time as wrong or right, it was just there, always there, with some smell some colours we never want to leave behind.