Film Review of Sweet Honey

First, social assimilation and self-cognition.

The location of the story selected in Sweet Honey is typical. Both Hongkong in the first half of the year and new york in the second half of the year are international metropolises, and immigrants are the main population of such cities. The fast pace of life, fierce competition, cultural diversity, polarization between the rich and the poor and even regional discrimination are the characteristics of this city and the driving force of the whole film. In the film, Li Xiaojun, who has just arrived in Hong Kong, wears rustic clothes and speaks a local accent that is out of tune with the environment. He knows nothing about elevators, ATMs and McDonald's. He needs to learn again like a baby and base himself on a more advanced society. On the other hand, Li Qiao, who speaks fluent Cantonese, seems to have integrated into society earlier. When she first arrived in Hong Kong, she didn't show much confusion, but accepted and recognized it directly, denying herself in the past with local values. She tried to become a "Hong Kong native who grew up drinking Vitasoy", erasing the identity of a new immigrant and thinking that she was no longer a working girl. But when she was finally respected and recognized by the society, she revealed her deepest attachment-her mother in her hometown died before she earned a lot of money. When Li Qiao went through a lot of hardships and finally became an American, her yearning for her hometown and identity had no vanity to hide-she naturally and frankly told tourists that she was from Guangzhou and wanted to go home and have a look. The drifting experience of immigrants is like a needle ripening agent, forcing Li Qiao and Li Xiaojun to grow up, prompting them to know themselves more deeply and complete their self-examination of their identity.

Second, the comparison between pragmatic love and idealistic love

Just as a man will have his own red rose and white rose in his life, a woman will have two kinds of men in her life-such as Li Qiao and Bao Ge. For her, it is an idealistic love, while Brother Bao is a pragmatic love. Li Xiaojun gave Li Qiao his initial heart and the concern of the opposite sex. He was his first lover. Based on the society, Bao Ge started Li Qiao's life and shaped her into a delicate woman. However, Chen Kexin broke these two loves, which is his advantage. For example, after the death of Bao Ge in the film, Li Qiao's absence and desolation were vividly displayed. Facts have proved that the actual feelings are not inferior, and the purity of idealism does not necessarily have a moral advantage in front of the former. Another example is the reunion of Li Qiao and Li Xiaojun, which is full of romantic warmth.

Third, the struggle for the fate of the little people.

Japanese movie master Mikio Naruse once said, "Our life has been deceiving us." In the film, Li Xiaojun and Li Qiao meet at their wedding a few years later and ask each other about their current situation, but they don't say anything to each other. How determined I am to live with my ideals, but time has changed people beyond recognition, and life has completely deviated from the original intention at that time. All pure and beautiful dreams are wasted in material desires and reality. When she finally married, she said to Shen, "We can't go back, just like Gu in Half Life." . When Li Qiao spent his life's shrewdness on material things, he said with emotion, "I really failed." However, no matter how fate arranged, Li Xiaojun and Li Qiao always persevered. Perhaps this is also the director's compassion-"If life is floating, you should smile." The epitome of the ten years before the return of Hong Kong.

In the film Sweet Honey, Chen Kexin recorded the group unconsciousness from 1986 to 1995, and used this historical resource to predict the unknown process of China people's fate. Here, Chen Kexin does not simply stay in the symbolic meaning brought by historical events, but describes the subtle situation that historical changes and social trends are subtly influenced by groups and personal influence. This way of dealing with the film has won the overall praise of the Chinese world in terms of external perception and internal sound.

When Chen Kexin deals with such a Hong Kong theme, the main body is not a native of Hong Kong, but a new immigrant from the mainland. In Chen Kexin's view, it is impossible to take into account the fate of the whole people of China simply by defining the subject of reunification as Hong Kong people. In 1980s, with the reform and opening up in China, more and more China people went abroad to make a living. In the 1990s, due to uncertainty and anxiety about the future of Hong Kong, some Hong Kong people chose to emigrate overseas. However, Sweet Honey does not directly express this group psychological anxiety, but refines personal experiences and contradictions between people, and records an extraordinary era with the true feelings and real life of little people.

Immigrants from China in the late 20th century.

The English title of Sweet Honey is "Comrade: Almost a Love Story", which means "Almost a Love Story". Chen Kexin once said that honey is not pure love, but more about struggle, life and times. Li Qiao and Li Xiaojun have been wandering for so long but not together because one of them doesn't love each other enough: Xiaojun always has Xiao Ting in his heart-that's his ideal; Li Qiao depends on Bao Ge to survive-this is her ideal, otherwise they would have been together. As Li Qiao said, "Comrade Li Xiaojun, the purpose of my coming to Hong Kong is not for you, and the purpose of your coming to Hong Kong is not for me." In a word, they came to Hong Kong with humiliation and burden-to pursue a better life in their imagination.

This is the mark of the times, and it is the true history and realistic mentality of the immigration tide triggered by the pursuit of ideal life since China opened its doors in the 1980s. When talking about the hardships and tenacity of mainland immigrants, the film reflects the unique colonial history of Hong Kong, the wandering and confused mentality of the whole city of Hong Kong, and the fact that Hong Kong people want to have a sense of national identity, but they can't get rid of the admiration for British and American culture.

Facing the bitterness of the times, the director finally arranged such a scene: a group of mainland tourists came to new york to take photos under the Statue of Liberty, which symbolizes the United States, but at the same time asked the tour guide to buy luxury Gucci bags-they were happy tourists, not immigrants who had left their homes, nor illegal immigrants who had gone through hardships. They said to Li Qiao, who got the green card, "Those people used to be outside, but now they have all gone back. Many Hong Kong people have gone to work in our mainland, and everyone who came out before regretted it. There are more opportunities to make money in China now. " Times are changing rapidly, China is on the rise, and Hong Kong will soon end its 50-year colonial history and return to the motherland. 1997 is not a time limit in this city. Finally, Li Qiao and Li Xiaojun listened to the broadcast for Chinese people all over the world on the streets of new york: "Miss Teresa Teng passed away ... People say that where there are China people, there is her singing voice", and they unconsciously went to the screen to meet each other again. This is the aspiration of the people of China. Whether in Hongkong, the mainland or Taiwan Province Province, we all have the same culture and the same feelings. In the film, if strangers in Hong Kong only face the differences of regional customs, then what overseas drifters really feel is the deep-rooted pain of inferiority: the tragic situation of Bao Ge's inexplicable death in the street and the discriminatory treatment of Li Qiao in the police car are undoubtedly the true embodiment of this situation. At this time, the homesickness proposition in China people's emotional texture has been displayed to a greater extent, and Teresa Teng's "Sweet Honey" is a symbolic support of this emotion, which touched the * * * communication emotion of China people in three places.