《鸳鸯楼》是郑洞天在继《邻居》之后,事隔六年执导脱颖而出的新片。两相对照,我以为导演的美学思想、艺术追求,比《邻居》实现了新的跨越。《邻居》尽管纪实手法强烈、生活气息浓郁,但艺术家的观点仍比较直露,其中某些场景,如:市委书记的谈话;除夕夜,刘力行的来信等,多多少少带有说教的意味,导演的主体意识还十分强劲。恩格斯早就讲过:倾向性不要直接地说出,而是要让它从情节中、场面中自然而然地流露出来。对于艺术家来说,你的观点愈隐蔽愈好。《鸳鸯楼》恰到好处地做到了,可以说它是在把“虚假赶出银幕”之外还加上把“说教赶出银幕”的一个“标本”。《鸳鸯楼》表现了一个都市青年公寓中六对小家庭的故事。但这里,重要的不是故事,而是让观众看到了真真实实的生活,唤起了对生活的回忆、反思和再认识。假如我要各用一个字来概括六对夫妇的最大特色,那就是青工夫妇“闹”(摔金鱼缸,甚至不惜拳脚交加);沙龙主人的“苦”;“大男小女”的“愚”;研究生夫妇的“迂”;画家和他的妻子的“酸”;厂 “Yuanyang House” is Zheng Dongtian following the “neighbor”, after a lapse of six years directed new film. In contrast, I think the director’s aesthetic thinking, artistic pursuit, than the “neighbors” to achieve a new leap forward. Although the “neighbors” have a strong documentary style and a rich life style, the views of the artists are still relatively straightforward. Some of the scenes are as follows: conversations from the party secretary; on New Year’s Eve, letters from Liu Li-Hang, etc., are more or less preached , The director’s subjective awareness is still very strong. Engels has long said that tendentiousness should not be spoken out directly, but to let it emerge spontaneously from the scenes and scenes. For artists, the more hidden your opinion, the better. “Mandarin Duck House” just right to do it, it can be said that it is in the “false out of the screen” plus the “preaching out of the screen” of a “specimen.” “Yuanyang House” shows the story of six small families in an urban youth apartment. But here, the important thing is not the story, but let the audience see real life, aroused memories of life, reflection and re-understanding. If I want to use one word to summarize the most prominent feature of the six couples, that is, young couples “trouble” (throwing goldfish bowl, or even fists and feet); salon owner’s “bitter”; “male and female” The “pedigree” of graduate students; the “acid” of painters and his wife;