Who can tell me the introduction of Shambhala messenger or write some film reviews?

Brief introduction of Shambhala messenger ...

A person, a horse, a mountain road; A fire, a bowl of wine, a package ... This is a movie based on the true story of Wang Shunyou, the postman of Mabanyou Road, Muli County, Liangshan, Sichuan.

The film Shambhala Messenger vividly shows the hard and lonely life and work of a postal worker in Banma Post Road, and truly reproduces the daily work life of Wang Shunyou. In this seemingly dull and even boring life, the hero's extraordinary spiritual realm and rich inner world are carefully shaped and excavated.

With simple lens language and vivid artistic details, the film vividly reproduces the touching story of the protagonist serving the people of all ethnic groups wholeheartedly, and weaves a beautiful picture of the harmonious life of people of all ethnic groups.

The film was played entirely by non-professional actors, most of whom were Wang Shunyou's colleagues, friends and relatives. Their simple, natural and innocent performances add a lot of color to the film. The actors bring together eight ethnic groups, namely Han, Tibetan, Yi, Zhuang, Miao, Qiang, Naxi and Mongolia, which is the crystallization of multi-ethnic unity and cooperation.

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The friend at the end of the film said, Wang Dahe is so hard!

I'm thinking, is it hard or not? Maybe none of us know, only he knows. I think if I were Wang Dahe, I would feel very happy. Really, it is a very happy thing to be a useful person to others. Seeing the children around him in the film, the feeling of happiness can't be bought with money! Although Jinlong has gone and everyone can understand the pain of losing his comrades-in-arms, at the end of the film, he still walks on the land of Shambhala with the white horse Jinlong. Is it really unhappy to get that feeling back? If in this society, there are thousands of rivers living around us in Qian Qian, and we are rivers, then the world will be perfect! But maybe there is no perfect thing at all. Everyone in the world has their own values. We can't lose our values for some things, just like many people around us leave this large state-owned enterprise and rush to their own happiness. Of course, happiness is not necessarily sweet. I think the taste is varied!

In fact, I just miss my hometown, not that smoky, featureless little city. I'm thinking about Daliangshan, where there are rivers, canyons and snowy meadows hidden in unknown boudoir, just like Shambhala in the movie. Behind the rolling mountains, there are often poor villages that are the real paradise, backward, barbaric and dirty ethnic minorities, and heroic and unique frankness. When I mention my hometown, I always love and hate it.

Today, I talked too many travel topics with my friends and felt itchy in the southwest, so I opened the page and found this movie. I have known it for a long time, but I have never read it. In a small town like a mountain area, I feel at ease when I see those familiar clothes and hear those familiar accents (ethnic minorities, especially the Yi people speak Chinese, which we call' Unity Words'). By the way, the movie soundtrack is very nice, a song sung by a female voice (Tibetan? That sounds comfortable. I have always been fascinated by this kind of national minor. My brother always smiles and has a strong hometown complex, but it is not.

I have never been immune to beautiful scenery. I remember seeing a ranger in Luguhu town. His job is to patrol the mountains by the lake every day to prevent the danger of poaching, logging and mountain fires. At that time, we shouted, this is simply a fairy day to walk around the lake every day, how romantic it is. The movie brought me back to reality. Finally, I seriously thought about the hardships and admitted that it was not easy. To tell the truth, I'm afraid no one wants to live the life of Rainbow Shunyou. Although the scenery in Muli is beautiful, I've always wanted to ride yaks there and see the grassland and snow-capped mountains.

Google specifically: Loneliness is a normal life of Wang Shunyou, a postman in Muli Tibetan Autonomous County, Liangshan Yi Autonomous Prefecture, Sichuan Province. It takes half a month to send an email every time. During this time, I have to deal with my own songs and the horses that accompany him. This "loneliness" is respectable. Therefore, he was rated as a national model worker, and was selected as one of the top ten people who moved China in 2005.

I remember one year he was invited to the stage of CCTV Spring Festival Evening. In a closed place like Liangshan, it is also a red man. Small places are always full of gossip, so I heard that he was accidentally discovered by his superiors at first, and later became a typical one. Now, it seems that he no longer trudges on the postal road, and the treatment is good. He bought a house in Chengdu and enjoyed life.

I have no intention to comment on how Wang evaluates this model worker and his life after that. I just don't know how many people were moved and noticed: "There are 25 postmen who shuttle diligently on this postal road like Lao Wang."

Every year, the Montreal World Film Festival will show some domestic main melody movies. This year's Shambhala messenger is also of this type. After reading it, it reminded me of my recent experience in the mountainous areas of Yunnan. The scenery there is beautiful, people are simple and life is simple. This movie also gives me this feeling. Every actor is a non-professional actor and plays a familiar role, so his performance is very real. But in contrast, the plot is a bit exaggerated, putting all the difficulties experienced by Wang Shunyou in one trip. This description is too bitter. Who else will go there as a postman?

Although it was 9: 30 in the morning and it wasn't a movie, many people came to see it. I heard a lot of applause after the movie. The producer, a middle-aged woman, thanked her outside the cinema. Two Americans also asked the producer if he had found a North American publisher.

I don't think I paid much attention to this kind of film until I occasionally saw the introduction of this film in The Sound of Music, which was completely interpreted from the perspective of music.

Listening to touching music and looking at simple but beautiful pictures, I was immediately attracted.

Actually, I haven't seen it completely, but through its introduction, I learned the whole story, the voices of directors and composers, and everything they wanted to tell me.

Oh, you haven't seen it. You haven't heard it. If you don't want to enjoy it, you must have never heard the music inside.

I listened to the composer slowly telling every piece of music he created, telling the feelings contained in his music, and expressing this kind messenger who worked so hard to stick to his faith.

The high-pitched female folk songs tell us where the story takes place. . .

The mandolin tells us that a messenger travels alone. . .

The cheerful French Polka tells us that his life is full of humor and happiness. . .

Harmonica and violin interweave his persistent belief. . .

When he stepped on the cliff and died, he wrote his own Uma song, like a heavenly female voice and an angel, telling you that I hope I will never leave anyway.

His beloved old horse "Jinlong" fell from the hillside and broke his leg. He untied it with his own knife, but his heart was broken. The sound of the guitar sounded faintly, without too much emotion, just quietly let everyone calm down and feel the sadness of the messenger at this moment.

Only when he burst into tears by the campfire did the violin ring to express his deep sadness.

There are many stories about music and pictures. . .

With the unfolding of the plot and the spread of music layer by layer, we are either happy or sad, although it is not a violent emotional fluctuation, just like music has always been so melodious and oppressive, but we are moved.

I watched the performance of the Hollywood Kung Fu Panda Bao the day before yesterday-I only go to the cinema once or twice a year and dedicate it to him for the first time this year; I watched this domestic digital film on cctv6 tonight, and was positioned as the Shambhala messenger of art films.

Watching the panda learn to fight, although I laughed with the audience, I didn't want to laugh when I got out of the cinema, that is, I watched an old Jackie Chan movie with good sound and color, but I also hope that the next X sequel will continue to make us laugh happily. Contact this Shambhala emissary. The two movies I watched tonight feel like they are from two worlds.

That distance, just like the world where characters live and the world where Hollywood people live, is so far away. Even the meanings of the two films are irrelevant, and each has its own characteristics. If I have to tell you why I tied these two movies together, I can only answer that I watched two completely different movies in just three days, which may have some profound significance in itself.

The shallowest meaning is to map out my own "inclusive" taste and my social attribute of "being cold but not avoiding". If we use some aesthetic words to judge: fun, funny, fast-paced, well-drawn, virtual works, I can accept; I can also accept realistic, local, slow, simple and grand works. Behind these words is the brand or limitation of aesthetic philosophy brought by the unavoidable cultural background. I will be moved by movies like Shambhala Messenger. First of all, because I am grateful and understand the rural world, my parents belong to this world, and I am constantly brought back to this world by them. The contrast between urban life and rural life also makes me yearn for the latter. I will be amused by the panda's kung fu, because I have been comforted by the virtual symbols of modern cities since I was a child, and my recognition and feelings for comics have long been internalized in my personal concept. From the perspective of social classification, I am a post-80s with the tail of the post-70s, a college-educated urban child, the second generation of urban immigrants, and the beneficiary of the transition from a poor era to an era rich in material information. I am ...

The above is my own preliminary analysis as a viewer and a case figure. From this analysis, flesh-and-blood characters are abstracted as a part of social classification, and then extracted as symbols of cultural interpretation. Observing these "symbols" is undoubtedly meaningful for positioning audience categories, designing story lines and film positioning in the process of film industry. But is it helpful for the whole society, the whole culture, the understanding of society, culture, people, morality and so on?

At present, many media works (obviously, both news reports and movies and TV series have the author's "creation", which can be described as "works" to varying degrees) have a characteristic, that is, they are good at grasping the positioning of the audience, thus creating works suitable for all walks of life and all kinds of audiences, so newspapers, magazines, TV series, movies and so on. They are all divided into three or six categories. However, many of the works sought after by hot reviews on Douban are works with post-80s taste. Those who don't meet this taste will be labeled as "Lei", "Tangle" and "bh". As a social group with the ability to consume a large number of media works, their tastes are self-evident to the media market, so the works approved as "Lei" are really a minefield for the creators.

Off topic. Let's look back at Shambhala. The true color of the film shows obvious performance traces, which shows that the production team uses this method very carefully and tries not to use too much force. I watched this movie with tears in my eyes, and occasionally I couldn't help laughing. The power of such a film comes from its realistic roots. "If it's not good enough, it's because it's not close enough", but just sticking close enough may not be good enough. If you stick it too close, you can only see the part, and enlarge the part into a real whole. At most, it is made by "craftsmen"; More observation and thinking are needed to get close to the whole truth. I don't know how long it took the director and the production team to make such a film. From the experience in the field of anthropology, it takes considerable time and emotional investment to let the interviewees show themselves as truly as possible in front of the interviewees, not to mention letting them virtually happen to others or other places in front of the camera equipment, even if these events happen to themselves, they are in the past time and space. After local people become performers, how to adjust their self-awareness to the plot is a complex process in individual psychology and culture. If anyone is interested in the changes of individual cognitive concepts before and after the video recording, I would like to revisit the filming location, get to know the participants and experience the changes of their concepts and psychology before and after the video recording, which will be a very meaningful case of visual anthropology.

The film focuses on places that modern roads have not touched, that is, places slightly away from the national antenna. This area, which is more self-sufficient and stable than modern society, is of great interest to urbanites. The natural environment in which the story unfolds is so magnificent, beautiful, otherworldly and inaccessible, which urbanites yearn for. Most movie audiences are located in cities, so they can follow a postman with a horse and appreciate his life and feelings. The postman showed his social network, communication etiquette and worldly wisdom, as well as delicate passion, deep emotion, tenacious will and kind character under the camera. One is full of freshness or local intimacy, and the other is full of human beauty because of its pure and natural normality. Looking back after reading it, perhaps it is in this isolated state that the limits and normality of human beings are so naturally combined. The seemingly natural feeling is magnified and illuminated by the combination of these two States, which deeply touches the viewers who can't really participate in the protagonist's life and enter the world of the protagonist's life.

The plot is secretly connected between the protagonist and the people he contacts. Dramatic ups and downs, not where he hangs on the line of life and death alone, but in the constant dialogue between people and him. It is not so much the communication and feelings between people that promote the development of the plot, but rather the communication and feelings between people that are everything in the plot. From the character's own point of view, the plot is not the most important in the film, because it is based on the real character's life, and the plot in the film is only the condensation of every day in his life, which is a cocktail blended for us to understand the protagonist's life and humanity more intuitively and vividly. Therefore, the most important thing is that behind his personality and behavior, it has become a world of "I am today". The film is named Shambhala-a paradise and a world in Tibetan.

Perhaps the original intention of the film is to extract the extraordinary life of the postman as an ordinary person and praise the touching human nature and moral spirit through one of the many postal routes that the postman has traveled. Choosing such a multi-ethnic and diverse geographical environment as the film background (also the real life background of the prototype) itself adds more profound cultural connotation to this work.

When we regard the world recorded in the film as a whole, this world, which is extremely far away from the panda Po, and this world, which is extremely far away from the Internet, is actually moving closer to our audience: the main plot is that the postman has gone through twists and turns, allowing a girl in the mountains to get a college admission notice and go out of the plateau to study at a university; The postman spent the night in the mountains by himself, reading the newspaper People's Daily. The postman sends documents to the township government to convey the will of the national government; The girl received the admission notice on the wedding day, and this contradiction was solved by the township head. Finally, the contradiction and combination between traditional morality and etiquette and the will and manipulation of the state are alleviated and detached by the postman, a "small person" who maintains the relationship between them. The postman in such an area has even more power than the local government leader-the spokesperson of the country. On the one hand, this power comes from his professional status as a "public official", on the other hand, it comes from his "threshold" status as both a local people and a "screw" of the state machine. These "screws" not only play an extremely important role in the remote mountainous areas on the edge of the country, but also ordinary people with multiple identities play the role of social defenders and lubricants in countless corners of the whole society. They more or less agree with traditional morality, understand the importance of national existence to society, and understand how the traditional rules of social operation operate in the current society. They have connections with local officials and ordinary people, family responsibilities and precocious children. They are pragmatic and persistent, maybe a little smart and greedy, but our society will always need them.

If they are judged by national standards, the comments will be much less than this film; If we understand them according to the laws of culture, this film only carries a part of countless cases.

This kind of movie that caters to the audience's taste is obviously in line with the aesthetics of Douban people. But if we only look at it from personal interests and personal feelings, it seems that it is not enough to understand its connotation. Maybe I'm over-explaining and talking to myself, but I want to discuss from this film to what extent movies can understand reality, undertake reality and discover real beauty.

The writing is messy and so long that it is estimated that not many people will read it patiently. Is to remember.