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改革开放之前的十多年里,爱情几乎成了电影拍摄题材的禁区。男女主人公不是孤家寡人,便是无情无欲,样板戏电影成了当时唯一的风潮。因而上世纪80年代的爱情电影,主要还是集中在对“复苏、反思、悲情”的表现上,类型总体还很单一,毕竟整个社会刚刚脱离了禁锢,物质与精神等各方面的因素都约束了情感表达的丰富性。因此这种具有时代特征的爱情并不是甜蜜浪漫的,更多的则是走过压抑的苦涩和悲哀。随着岁月的磨砺.电影导演格外珍惜人与人之间的情愫:他们关注人的感情、婚姻和与之相伴的道德现实;他们对爱情的关注并不直接,而是将之融入大的社会背景中,因而更多地带有浓重的悲剧色彩和反思色彩。
More than a decade before the reform and opening up, love almost became the restricted area for movie filming. Male and female protagonists are not loner, is ruthless, model opera became the only wave of the movie. Therefore, the love movies in the 1980s are mainly focused on the performance of “recovery, reflection and tragedy”. The types are still very simple. After all, the whole society has just been separated from the imprisonment, material and spiritual factors Constrain the richness of emotional expression. Therefore, this love with the characteristics of the times is not sweet and romantic, but more is through the depressed bitter and sad. With years of sharpening, the film director treasures the feelings of others: they focus on people’s feelings, marriage, and the moral reality that accompanies them; their focus on love does not go straight but integrates it into larger societies Background, and therefore more with a strong tragedy and reflection color.