At MacDonald's, the director started the most acclaimed 40-minute long shot. Bobby Chen got on the motorcycle of a young man named Weiwei and went to find the old doctor's lover, a singing Miao. I didn't find anyone and wanted to get to Bobby Chen before dark, so I hitchhiked with a band that will perform in another stockade. Bobby Chen said that he could not sing, but only heard nursery rhymes, so the band played the nursery rhyme "Little Jasmine" in the car. At a crossroads, Bobby Chen saw Wei Wei standing in a plastic bucket and turning his car upside down, so he got off and helped him unload it. It turned out that other young people driving motorcycles wanted to grab the telescope in Wei Wei's hand, so they played a joke on him. Wei Wei conveniently handed the telescope to Bobby Chen. Chen Sheng helped Wei Wei to repair the motorcycle that had been stalled, and asked Wei Wei to send herself to the dock in Zhenyuan, and first followed Wei Wei to a nearby stockade. The director's precise design of the long lens and the advantages of the complex spatial structure of the long lens are undoubtedly revealed in this section. Many villages in southwestern Guizhou are surrounded by mountains and rivers, and wooden houses are also built on slopes, with winding paths leading to secluded places. The camera quickly moved down a long flight of steps, and the sound of the motorcycle just touching it also changed from near to far, from far to near. When the camera came to another space under the steps, Weiwei's motorcycle just arrived. The camera continued to cling to the two men, first eating a bowl of powder, and then mending Bobby Chen's unbuttoned clothes. In this paragraph, Bi Gan wore a sweatshirt and made a soy sauce.
Yang Yang, the tailor who mended Bobby Chen's clothes, is Vivian's sweetheart. She is going to be a tour guide in Kaili, and she is reciting the tour guide's words, "Kaili is located in the southeast of Guizhou, with the highest temperature xxx and the lowest temperature xxx". The girl from the barber shop next door came to see Yang Yang's performance. Just now, Bobby Chen's hitchhiking band will perform here in the evening. Bobby Chen put on the old doctor's flowered shirt and went to the barber shop to wash the girl's hair. On the other side of the river, Yang Yang walked along the steps to the river, recited the guide words, and then took the ferry to the other side. After buying a fancy hand windmill, Vivian found Yang Yang, but she ignored her. On the other side of the river, there was a faint sound of the band starting to perform, and they walked back to the other side along the suspension bridge. The girl in the barber shop here is washing Bobby Chen's hair, and Chen Sheng tells the story of him and his wife in the third person. The audience will find that the girl in the barber shop looks exactly like Bobby Chen's wife. She passed by in the first half. Barber girls Bobby Chen, Weiwei and Yangyang came to watch the performance together. After the band suspected of singing "Song of the Road" (I can't remember whether it was sung during rehearsal or performance), Bobby Chen came forward and said that he wanted to sing a song for the girl in the barber shop, so he stumbled to sing "Little Jasmine" just now. After the song, Wei Wei told Chen Shengde to leave and gave Yang Yang the windmill she had just finished, while Chen Sheng took out the tape that was supposed to be brought to the old doctor's lover and gave it to the girl in the barber shop. When they left by motorcycle, Wei Wei told Bobby Chen that he drew many clocks with chalk on the freight train opposite the train to Kaili. When the two cars met, the clock seemed to go backwards. Wei Wei also told Bobby Chen that the savage appeared recently and asked him to tie two sticks to his elbow, so that the savage wouldn't be caught off guard when he came. That's the end of the long shoot. Bobby Chen found the monk in the clock car beside Zhenyuan Road. Monk Hua talked about buying buttons in the handicraft class of Weiwei School, and told Bobby Chen not to worry. When school started, he sent Weiwei back to Kaili. Bobby Chen threw a button into the monk's car, picked up the telescope, took a distant look at Wei Wei and left. The old doctor's lover died. Bobby Chen gave the flower shirt and photos to Simon, saying that the tape was lost on the way, and then returned to Kaili. When the two trains met, Bobby Chen thought of time to go back. The last scene of the film is a train disappearing into the tunnel. The film lasted for forty or fifty minutes before the opening "Picnic by the Road" appeared. Most of the above plots did not appear directly in the film, but were pieced together through the dialogues and memories of the characters. The foreshadowing was very detailed, and I didn't notice many things until the second time I saw them. Because the reality and memories in the picture are intertwined, coupled with the use of poetry, the real plot is quite dreamy; The story that happened in Dammai (meeting a young man named Wei Wei, a woman who looks exactly like his wife, and the corresponding savage nine years ago) gives people a more real feeling because of the complete context and narrative of a mirror.
Another important identity of Bobby Chen in the film is that he is a "poor poet". The narrative of poetry in local dialect has alienated many plots and pictures and brought a sense of surrealism, but it also has some specious correspondence with the content of the image. A poem that impressed me deeply is that Bobby Chen suspected that his younger brother had sold Weiwei and went to the place where he played cards to find him. The two men disagree. At this time, the camera swept a pool of water on the ground, and Chen Shengnian's poems and subtitles appeared in the film. When the camera was swept away, we quarreled with people in the same place, but from the conversation, we knew that it was nine years ago that we settled accounts with the man who cut off the arm of the Chinese monk. The switching of time in the first half was all casual, but the director still left some hints through poetry, dialogue and even the tone of the film. Another example is the photo of Bobby Chen's former brother who picked him up from the detention center, which impressed him more than before. If you want to capture all the plots, it will be very difficult to watch the roadside picnic for the first time, because you have no idea about the plot in the first half of the movie. When you gradually realize the outline of the story, you will miss some foreshadowing. For example, as mentioned above, Bobby Chen met a young Weiwei on a band trip and handed him a pair of binoculars. Later, Bobby Chen observed Xiao Wei through a telescope. Another example is the button that Bobby Chen threw to the monk, which was mended in Yang Yang and left behind; Another example is the hand that Bobby Chen habitually carries when washing his hair (the habit of staying in prison for too long); For another example, young Wei Wei mentioned that he drew a clock on a truck. It's easy to miss the train if you don't pay attention when it passes by. In the first half of the photo agency of Back in Time, there used to be a clock painted by Xiao Weiwei on his wall. There is a nail in the center of the clock, and the pointer projected on the wall is actually the reflection of the nail, so its moving direction is also the other way around. For example, to understand Bobby Chen's love for the girl in the barber shop at first sight, we need to remember his wife's appearance in the flash picture in the first half of the movie. But a little knowledge of the plot does not affect the film to some extent. Roadside picnics are ingenious and clumsy. This ingenuity refers to ingenious structural design, including all kinds of bedding, corresponding, informative and leisurely long shots (I like long shots to accommodate several spaces at the same time, for example, when crossing the river with Yang Yang, I can vaguely know that the band is tuning, Bobby Chen is washing his hair, and everything in the stockade is proceeding in an orderly way), and this clumsiness is human emotional instinct. When Yang Yang crossed the river, the director's words got stuck, and Vivian deliberately read them out loud on the other side of the river. Yang Yang reluctantly refused to listen, went ashore to buy a windmill with whispering joy, and walked away angrily, which was very charming and subtle. Bobby Chen's feelings for his nephew Weiwei, his wife (specifically the girl in the barber shop) and his mother, especially for a middle-aged man, are vacant and clumsy. The time change of savage legend (9 years ago, recently) points to the passage of time and dreamlike experience (relatives appear in a new way), which further resolves the embarrassment of facing emotions directly, and is more in line with the seemingly rough but delicate design of rural doctors who write poems. As the director once said, "The movie is fake, and the emotion is real."