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我认为,《人生》作为电影,它在艺术追求上的创新是值得赞许的,但它所表达的思想倾向却是值得商榷的。今天的中国社会,正在经历一场伟大变革,新旧交替,生活呈现一种特别令人头昏目眩的景象。文学艺术作为生活的反映,应适应当前遍及城乡的变革潮流,最重要的,是要适应时代发展的对陈旧观念的改革。影片《人生》的主人公高加林,不用说是一个颇具复杂色彩的形象,但就其主流来说,他与生养他的那个地区的不协调,难道仅仅如人所说,是“他内心深处利己主义式的个人奋斗”吗?是不是恰恰相反,倒是现代科学文化知识对传统落后愚昧观念的尖锐挑战呢?如果说,他在水井里撒放漂白粉的“卫生革命”和在人们的哄笑中与巧珍双双骑车进城都已经触犯了当地的清规戒律的话,我们怎么能希望他的离乡和背弃巧珍不遭到指责呢?高加林向往进城,不是出于对
In my opinion, “life”, as a movie, lauds its innovation in the pursuit of the arts. However, the thinking tendency it expresses is debatable. Today’s Chinese society is experiencing a great change, alternating the old and the new, with a particularly dizzy picture of life. As a reflection of life, literature and art should adapt to the current trend of change throughout urban and rural areas. The most important thing is to adapt to the development of the times and reform the old ideas. It is needless to say that Gaugailin, the hero of the film “Life”, is a rather complicated image. However, as far as the mainstream is concerned, his incompatibility with the one that gave birth to him is merely “what he said At the very least, is it a sharp challenge to the concept of traditional backwardness and foolishness? If he said, he bleated the ”health revolution" of bleaching powder in the well and made fun of people’s laughter In the both with Qiao Zhen ride into the city have violated the local rules and prohibitions, how can we hope that his departure and abandon Qiaozhen not be accused of? Gaulgar longing for the city, not out of