A man kidnaps a newly wed woman and rapes her. It happens off screen and nothing is shown.
A man carries a woman inside a house with himself. Sex is implied.
A little boy is half naked all the time. His penis and bare butt is shown several times.
A man pees inside the wine so it will get better. Later he make his boy to pee inside it too.


Film review:Translated by www.rabudo-ru.com


Let me tell you something about my grandparents. It is often mentioned in my hometown. Over the years, some people believe it or not

——A narrator at the beginning of the film Red Sorghum

The general impression of red sorghum is that it fully expresses the film author’s worship of primitive vitality. This is a film with Zhang Yimou’s strong subjective ideas, which should be regarded as a typical author film.

In red sorghum, Zhang Yimou’s irresistible praise and praise for the will and vitality of primitive life can be said to have reached an unparalleled extreme and reached the level of perfection of the essence. This is a realm of worship.

The first is the worship of the divine power of sex. In the scene of “bumping the sedan chair”, from the surface, it is a banter prank by so many rough men lifting the sedan chair on a bride with a red dress and a red cap in the sedan chair; But from a deeper perspective, it is not only the spontaneous vent of potential sexual joy and desire initiated by several shirtless men in the face of the charm of the bride jiuer, but also the spontaneous attack of sadness and resentment that jiuer is unable to help in the face of unreasonable and inhumane sexual combination. The only power that can make this singing and dancing “Tiaojiao” disco suddenly stop from the peak of madness is nothing else, but the choking sobs of jiuer in the sedan chair. In this change point of mood and rhythm, the editor and director showed the insight and candlelight of the beautiful nature in the hearts of these rough and strong men, which is the first touch of the people at the beginning of the film. The emotional gap caused by the rest of this rhythm determines the real sacred position of jiu’er in the hearts of the wild men, which is a clear evidence of the film’s worship of sexual power. Among these strong men, only “my grandfather” Yu Zhanao, with his stronger life willpower driven by sexual divine power, dares to put his inner turmoil and desire into external practical action one by one – Yu Zhanao is indeed one notch higher than other strong men and is truly the best in the world – with a beautiful eye that jiu’er once gave him, So that the subsequent killing of husbands, robbing wives, and even making love in Sorghum fields have become a package of “benevolence” things that are no longer violent and evil, but all natural. The “benevolence” here cannot be based on the narrow law of law, but must be found in the broader natural and primitive law of life – the benign reproduction and development of species and the survival of the fittest; The “beauty” here is naturally the film beauty with artistic selection and rendering (such as omitting the direct description of “killing husband”, etc.). When the screen shows a poetic close-up view of nine children falling back obsessed, Yu Zhanao kneels in front of nine children in the shape of red “big” on the fallen sorghum open space to overlook the great prospect (here is simply a solemn ceremony of religious sex worship and reproductive worship!) As well as the dynamic Empty Mirror of Red Sorghum in the backlight and swaying in the beautiful sun and wind, it can be said that the film’s worship of primitive vitality has been pushed to the commanding height of artistic beauty in the painting of this scene and the blending of feelings and scenes – but looking at the film, Zhang Yimou should make the concentration of the article more sufficient here, In order to make this red sorghum land lovemaking scene of “heaven made harmony and earth made beauty” more sacred like colorful music!

The second is the worship of the power of death. In “Red Sorghum”, Zhang Yimou wants to show the picture of our life: these eighteen lipo people, who love men and women, live freely and happily; For the sake of national humiliation, they must also rise up and fight for revenge. Even if they die for this, they must die freely and happily! The two poles of life and death, love and hate, are opposite and consistent. Indeed, these people said they would die if they died. It seems that Li Datou and the road robber pretending to be “bald three guns” died so easily, easily and silently. Naturally, this does not mean the death of these negative meanings. And those deaths with positive significance and those who died to resist foreign invasion – whether uncle arhan or jiuer or even “bald three guns” died under the butcher’s knife and artillery fire of the Japanese invaders, they all become the death of heroic sacrifice and awe! Therefore, Zhang Yimou does not hesitate to let people accept bloody sensory stimulation in the film, and makes a strong comparison between the slaughter of cattle and the slaughter of people. In this regard, we should not regard it as an exegetical illustration of the original meaning of the concept of “sacrifice”, but an internal metaphor for the difference between the sacrifice of cattle and human sacrifice. The ending of the film makes the bloodthirsty Japanese invaders understand that cattle are slaughtered and sacrificed in silence, while people make their own sacrifices in the outbreak of resistance and will die together with the slaughterers. This performance finally became the proof of the divine power of death.

The third is the worship of the divine power of wine. The sorghum wine, which is called “Eighteen mile red”, has won the highest praise for its character in the song of offering sacrifices to wine, which has been sung twice: “drinking our wine can nourish yin and strengthen Yang without stinking… Drinking our wine will not kowtow to the Emperor…” Yu Zhanao is just in the power of drunk wine to express his private feelings with jiu’er in the sorghum field, And what has been talked about among the people of Shilipo since ancient times – the divine power of red sorghum wine is the wild and uninhibited divine power of the people of Shilipo; The character of red sorghum wine is the free character of Shilipo people. 147, 369: jiu’er, the only woman in Shilipo, announced her nickname “jiu’er” (jiu’er) to all the guys of the distillery for the first time when she became the owner of Shilipo distillery? Wine and human beings have the same divine power and character because both were born in red sorghum. Shilipo people take wine as the atmosphere, and Shilipo people rely on wine; Wine is sprinkled on the people of Shilipo, and wine has become a catalyst for the people of Shilipo to regulate and strengthen interpersonal relationships. To put it bluntly, the film’s worship of the divine power of wine is the worship of the divine power of the eighteen lipo people.

With the worship of sex, death and wine, Red Sorghum shows the worship of the most basic spiritual source of human nature – the primitive life desire and will, that is, the essential power of life; It has been fully displayed in the film, which makes the film “swim in the realm of carefree debauchery and indulgence in change” 1. This is an unprecedented attempt and exploration of Chinese films. I think it is precisely on this point that the film has been able to win resonance and unanimous acclaim in the international film world; It can not be summed up in the words “the more national, the more cosmopolitan”.

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