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text/zhou wei

(the author zhou wei is a special commentator of lizhi news and a national second-level psychological counselor; this article is exclusively commissioned by lizhi news client and lizhi.com. please indicate the source when reprinting.)

in a flash, "orphan" and "dear" have become topical works in the last decade. movies with the theme of "anti-trafficking" are often depressing because of the heavy subject matter and the strong sense of reality and immersion. but this movie starring liu ye, zhao liying, and xiao yang is quite different. when we talk about the eternal theme of "goodness", "the road to fire" gives a thought-provoking answer:sometimes, good also needs the power of some pleasure and hatred to defend it.

different from the two masterpieces of similar-themed movies mentioned earlier, this is a typical commercial movie with a strong genre film style. the heroism and opposition between good and evil that western movies emphasize, and the personal growth and inner exploration that road movies focus on are all reflected in the scene setting, lens language and character portrayal of this film, making this film about family love and revenge more interesting. it has more hardcore and poetic colors.

as mentioned in the film, the chance of a trafficked child being found is only three in 1,000. the director did not avoid the acuteness of the issue, but chose to confront it head-on, tearing open this social scar through lens language, allowing the audience to face the cruelty of reality. the one who shocked me the most was lao hou (played by pan binlong), the convener of the family searching group. he had always encouraged the parents who were searching for relatives around him with his optimistic and positive attitude, but a second ago he was comforting his crying companions. after learning that his child was dead, he laughed and committed suicide by jumping off the bridge. this resentment of watching good being ruthlessly torn apart in the face of evil was brought to its climax.

at this point, the journey of cui dalu (played by xiao yang), li hongying (played by zhao liying) and zhao zishan (played by liu ye) to find their son has become more like a passionate exploration of justice. the english title of "tiger wolf rabbit" easily reminds people of the classic three-protagonist model from "the good, the bad and the bad". they all have one thing in common: ordinary people who have lost their children.

the most typical one is zhao zishan. as a policeman, he represented law and justice; as a father who lost his son, he was filled with the desire for revenge. this contradiction is vividly demonstrated in the film: in the face of such a tragic experience, should we adhere to reason or indulge our emotions? stick to justice or seek revenge? zhao zishan's sense of justice and inner struggle, li hongying's strength and fragility, and cui dalu's complex character form a picture of the various states of human nature. the acting skills of the three leading actors are online, and the design of their lines is also outstanding. "who said good people can't be scary?" liu ye, who said this line, perfectly interpreted the original meaning of the word "king kong's angry eyes". a strong actor should have a "passer-by face" and a "drama-worthy face", and xiao yang is getting better and better at this. the role of li hongying is the most critical promoter of the storyline and the node of the triangular relationship between the characters. zhao liying's performance is also above the standard.

as a "fun" revenge movie, action scenes and fighting scenes not only show the characters' skills and personality, but also serve as an outlet for the audience to vent their emotions:goodvirtue is not weak, sometimes it needs to be defended with a strong attitude.the action scenes in this film are on the larger scale among domestic films in recent years. zhao zishan's attacks were crisp and clean, reflecting his status as a fighting instructor; while the trafficker's actions were more ferocious, highlighting the villain's cruel nature. these action scenes are not simple visual stimulation, allowing the audience to obtain some kind of emotional satisfaction from pleasure and revenge. this kind of resistance is not simply revenge, but to protect kindness and uphold justice.

as director xu haofeng said in his film review collection "the knife and the stars": "the basis of genre films is mass psychology. anxiety makes people watch movies, and only when there is panic and redemption can the genre be established. the fear of western films is 'loneliness' , redemption is "outstanding". it recognizes this loneliness, so the ending of classic western movies is often not a happy ending, but the hero leaves the heroine and goes to the wilderness alone. "the ending of this film is also cui dalu's farewell. li hongying and her daughter returned to the family search group and continued their journey to find the "little wolf"...

although this film also has obvious flaws, such as the "top-heavy" plot structure, the villain's logic, the emergence of some supernatural phenomena, and some plots that are too deliberate and have nothing to do with the main line, the traditional halo of the protagonist in genre films and the setting of "who will die" is also cliche. but as a film that innovatively combines anti-trafficking themes with commercial genre films, it is still worth the price of admission. during the long vacation, if you want to avoid crowded scenic spots and spend half a day in a different way, you might as well go to the cinema.