影片《人生》通过高加林归来的封闭式结构,展示给观众的是:一方面为高加林失去金子般的刘巧珍而深感婉惜;另一方面,高加林又被当作负心的『陈世美』而倍受惩罚和冷落。由于编导者给予了被遗弃的巧珍全部的礼赞和同情,对其依附性性格及心理欠缺必要的时代分析,同时,也由于黄亚萍被塑造成一个缺少内在美的多少放漫画化了的女性形象,所以整个故事难免印上传统的『痴心女子负心汉』的旧痕,从而以高加林咎由自取的归来完成了对他的道德谴责。然而对于类似的问题,在《老井》中则有了另外的新的理解和处理:在静默的大山雪野中,井台边,巧英来向旺泉告别,万水爷在场,两小无言。这时音乐起,万水爷默默地驼着背、袖着手蹒跚而去。银幕上看不见万水爷的面部表情,只有苍老的背影。然而仅只背影,已把老人在年青人的面前的负疚感,以及此刻对两个情投意合的年青人爱情的理解全都表达出来了。凝望着渐渐溶入大山雪野的老人的背影,再 The closed-loop structure of the film “Life”, returned by Gao Jialin, shows to the audience: on the one hand, he deeply regrets Gargantine’s loss of gold-like Liu Qiaozhen; on the other hand, Chen Shi-Mei is punished and neglected. Because the director gave all the praise and sympathy for the abandoned Qiaozhen, the analysis of the necessary times for his personality and psychological lack of attachment, at the same time, because Huang Yaping was shaped as a female figure lacking intrinsic beauty, Therefore, it is inevitable that the whole story will be printed with the old marks of the traditional “flirtatious woman”, thus completing his moral condemnation of Gao’s personal return. However, for similar problems, there is another new understanding and treatment in the “Old Well”: In the silence of the mountain snow fields, Jing Tai edge, clever to Farewell to Wang Quan, Wan Shui Ye present, two small speechless . At this time the music, Wan Shui Ye came back in silence, sleeved hobble away. Wang Shui Ye can not see the facial expressions on the screen, only the old back. However, only the backs have expressed the guilt of the elderly in front of young people and the present understanding of the love of two young people who love each other. Staring at the back of the old man gradually into the mountains Yukino, and then