After watching the movie: Yue Lao is too greedy

"How do you grow up?"

"Wait until you know that in this world, everything is constantly changing."

––Section from the movie “Moon Lao”

Nine knives, since the unprecedented success of "the girl we chased together in those years", has become a cultural symbol, a symbol that resonates with countless people, and its core should perhaps be "the second disease"

On January 11, 1999, the TBS radio program "Ijiinguang Late Night の Red Deer Power)" hosted by Japanese comedian Ijiyuanguang first proposed that the "chute-second disease" and its "symptoms" are metaphors for Japanese adolescents who are too self-righteous and other special words and deeds. The common saying; "secondary disease" refers to the self-righteous thoughts, actions and values unique to adolescents. With the widespread use of this term on the Internet, "secondary diseases" mainly refer to those who are overly self-conscious, arrogant, feel ununderstood, and feel unfortunate, especially those "formed values and naive Adults with mixed thoughts".

At first, it was only used by Ijiin Hikaru's audience, but due to the commonality in a certain sense, it gradually became an Internet term in blogs and BBS.

The works of Nine Swords all have the taste of the second disease. The protagonist has more "desocialization" mentality in the rebellious period, and is very self-centered/defines people and things with your own cognition/challenges areas that were not dared to challenge/ Thinking (imagining) that one has special abilities, etc.

"Moon Lao" is a very "nine knives" movie. In addition to the dedicated male and female protagonists such as Ke Zhendong and Song Yunhua as the protagonists, Cai Fanxi and He Haochen have played key roles in the films he directed or wrote in the past. Liu Yier and Liu Yier both made cameo appearances in the film.

The love line of "Moon Lao" has also successfully undertaken series such as "In those years, the girl we chased together" and "Wait for a coffee". The humorous and humorous emotional crit, and deliberately added golden sentences, such as "some things will not change in 10,000 years!".

This is the success formula for the style and narrative of the Nine Knives

He was still smiling a moment ago, but in the blink of an eye, he was faced with irreversible regrets and regrets. It was as if he had not woken up from a sweet dream, but found himself lost in the long years, and his youthful arrogance had long since disappeared.

This time, the Nine Swords are not satisfied with their own success formula. "Yue Lao" is very spoofed in terms of the structure of the world view. First of all, after death, the world uses black and white rosary beads that can be used as points to calculate the qualifications for reincarnation. Playful and cute, but some are deep hatred that can't be resolved for hundreds of years

However, the biggest flaw is the way the villain of "Moon Lao" tells the story. There are two main lines, in addition to the love line of the protagonist, there is also the century-old revenge of the villain Specter played by Ma Zhixiang. Even in Yunnan accent, Yan Yi and dress, Ma Zhixiang is very professional, those tragic scenes and unrepentant atmosphere are worth looking forward to. The theme of the movie, but the form of inserting the main line of the life and death love story is too abrupt. The abruptness is not only the incongruity between the narrative mood and the main line of the movie, but the persistent starting point/layout and finally letting go, which is out of tune with the main line of love.

Back to the question: If love can transcend life and death, so what about hate.

When love encounters the cycle of life and death, fate can create helplessness/reluctance/nostalgia. Even if it is attachment, it is just, it is attachment with a sense of beauty, but if the same attachment is placed on hatred, the effect may be completely different. It’s hard to have sympathy when it comes to repaying debts, changing personal attachments, unable to let go, and constantly complaining about why the other party has forgotten the past.

Maybe, in the end, "Moon Lao" actually tries to tell the audience that when it's time to let go, they have to let go after all.

No matter how deeply you love in this life, even if you sacrifice yourself, you are willing to turn into a red line, and hope that the person you love can be happy with the person who loves her, and in the next life, you may lose a little fate with this life. Another person, moving towards the road that is closely guarded.

Affectionate to the deep, only then can there be no regrets.

In this way, how can hatred be relieved...

When Ma Zhixiang was shaken by just a few words of thanks from the protagonist, he sincerely changed his mind and gave up the great cause of revenge that he had been obsessed with for more than a hundred years.

Love to the point of desperation is enough for one second, and it will remain unchanged for ten thousand years.

However, the hatred of ten thousand years of obsession, how to dissipate in a second.

This may require more space and arrangement

The asymmetry between feelings and hatred not only fails to enhance the tension and contradiction, but also makes the transition scenes stiff and incoherent. When the audience can't immerse themselves, it will only bury the narrative gap, drag down the rhythm, and make it even worse. Blocks emotional stacking and emotional input.

As a result, for me, the rhythm of the whole movie breaks from time to time.

In the end, there are too many elements in the story. It is necessary to clarify the relevant settings of the underworld, and also to mention the present and past of each main character, so the explanation is a bit confusing in many places.

If you ignore the century-old revenge, and lack the black dialogue and heavy painting style, the film itself can be very moving.

The emotional line of "Moon Lao" is also the kind of innocent child's line of the typical nine knives. Among them, the male protagonist played by Ke Zhendong is almost the same in personality as his role in "The Girl We Chased Together in Those Years", and the role of Wang Jing is the female version of Ke Zhendong's same line.

When Ke Zhendong saw Alu (dog)'s instant rhythm, the rhythm instantly became smoother. The dog's acting skills were not just appropriate, but drove the emotions of the whole movie. Ke Zhendong said in the movie that he has been pursuing Song Yunhua for so long, it is likely that Yue Lao has never tied the red thread, but I think they were stuck together because of Alu, but they met each other again because of Alu.

Love and hatred, maybe everything is just the fault of Yue Lao Hongxian. If you pull the wrong line, you should not pull the line.

Before Ke Zhendong's last reincarnation, he said that Song Yunhua would be found even if there was no Yue Lao red line.

Perhaps, Aru may be their destined red line, which can be tied and echoed with the main line of the story.

Personally, the most heart-warming part of the whole film is undoubtedly the moment when the mystery of the middle and the latter part is revealed (yin and yang eyes).

This scene is more evocative than the finale of many movies.

"If the vast sea of people can meet at a glance for a thousand years

Turn around under the moonlight, that's you

Just want to hug the evidence that you are around

kiss your breath

In the blink of an eye, you say goodbye forever

won't change

––"If I Can" -Theme song of the movie "Moon Lao"

To sum up, knowing that there is difficulty in favoring Hushan, this may also be an uncompromising "secondary disease".