电影《小街》的编导,根据故事情节的发展,设计了三种不同的结尾,以叙述人物的命运和结局。这种创作方法到底好不好?有两种截然相反的意见。我是基本上抱赞同态度的。持不同意见的同志认为,文艺作品中的人物,虽然是作者根据自己创作意图塑造的,但一旦形成以后,就有自己发展的逻辑,也就是说它有自己的必然归宿.因此,人物的结局只能是一种,而不是多种。这种观点应该说是正确的,符合文艺创作规律的。那么《小街》中的夏和俞的必然归宿在哪里呢?此片同传统的表现手法相反,这个必然归宿不在作者的笔下,而在观众的艺术想象之中。可以说《小街》的三个结尾,其实是没有结尾的 According to the director of the movie “Small Street,” three different endings are designed to describe the fate and outcome of the characters according to the development of the storyline. This kind of creative method in the end is good? There are two diametrically opposed views. I basically agree with the attitude. Comrades holding different opinions hold that although the characters in literary and artistic works are shaped by their own creative intentions, once they are formed, they have their own logic of development, that is to say, they have their own inevitable ending. Therefore, the ending of the characters Only one, not many. This point of view should be said to be correct, in line with the laws of literary and artistic creation. So the “street” in the summer and Yu’s whereabouts? This film with the traditional performance of the opposite, this inevitable fate is not the author’s pen, but in the audience’s artistic imagination. It can be said that “the street” of the three ends, in fact, is not the end