The Suona Solo Song "Hundred Birds Chaofeng" is popular on the banks of the Yellow River because of its unique musical charm. It is mainly played when people with high morals and respects pass away, to cherish the great contribution of the deceased's life, and to express the love of filial sons and grandsons for the deceased, villagers and neighbors. Respect for the deceased. Director Wu Tianming made the movie "A Hundred Birds Facing the Phoenix" based on this century-old folk wedding and funeral custom. This film, adhering to his previous dignified and solid style, is committed to excavating themes containing the sincere emotions of the world, showing strong national characteristics. The combination of the film's ingenious camera transitions and various sounds not only highlights the theme expression in details, but also gives the film an intriguing charm and experience.

The narrative of the film is smooth and natural, and the connection between shots is handled in a subtle way. The transitions are mainly set through the similarity of music, vocals, and pictures. The concert in the film transitions with the changes in the characters' inner emotions. Tianming practiced water absorption by the river. He heard passers-by ridicule him and his suona. In addition, he had been unable to absorb water, and he was very disappointed and dissatisfied. The background music at this time was sad and low. When Tianming sucked up the water with a reed rod, he was full of hope, and happily ran back to find the master to prove himself. Here, an empty shot was used. Crossing the reeds, under the cheerful background music, the joy of Tianming's success is vividly expressed, just like the phrase "the sea is wide and the fish leaps, and the sky is high for the birds to fly". This not only achieves the visual perception on the screen, but also gives a deep meaning. Tianming's hard work will eventually learn something.

Such voice-overs and in-voices complement each other, enhancing the audience's association with the picture and making it more immersive. When he excitedly stood in front of the master, he proudly and happily told the master, "I sucked it up." He thought he would be praised and praised by the master, but he did not expect that the master not only did not praise him, but indifferently gave him a penis. Long bamboo tube. At this time, Tianming's inner joy was diluted, and the cheerful background music stopped abruptly, which not only showed Tianming's inner loss, but also highlighted the awkward atmosphere at this time. When Jiao Sanye confirmed Tianming as his successor, he was moved to tears as Tianming took over the suona and looked at the master, and the scene, through the gentle and soft background music, naturally transitioned to the younger brother Lan Yu holding the pillar aggrieved. The same music seamlessly connects extreme joy and sadness, and also moves the narrative content forward step by step.

In addition to conveying film information, human voice can also perform screen transitions in film and television works. In the film, "Hundred Birds Chaofeng" first appeared in the conversation between Tianming and Shi Niang. Shi Niang told Tianming that most people use four, but few use eight, and that the price is too high and ordinary people can't afford it. So Tianming asked Shi Niang curiously, is there anything more powerful than Batai? The teacher replied, "A hundred birds face the phoenix". Immediately accompanied by the melodious sound of the flute, the picture switched from indoors to outdoors. Birds flew freely in the sky, Tianming ran hard in the reeds, and the master took the reeds for him to practice water absorption. It shows Tianming's eager expectation for "Hundred Birds and Phoenix", and also lays the groundwork for the final performance.

In many parts of the film, sound is used to achieve excessive transitions between shots, but when Tianming grew up, he used a similar transition. , the camera moves from left to right, the picture changes from the face of the young Tianming who is unskilled in playing tunes to the tender fingers pressing the suona sound hole to the big suona trumpet, and then from the right to the left from the big trumpet mouth lens. The fingers are over the face of the adult Tianming who is comfortable and skilled in blowing suona. This kind of transition effect with such a large time span is not only unobtrusive here, but also adds a lot to the artistic processing of the film.

The contrasting effect of music is very significant in this film. The tune of "Hundred Birds and Phoenix" appears many times in the play, but each time represents a different emotion. When Tian Ming became the head of the Youjia class and succeeded in his first job, when he went to visit Master Jiao, he complained to the master that he could not accept the teacher's ceremony anymore, and people didn't pay much attention to suona before. Master Jiao told him that the suona was not played for others, but for himself. When Master Jiao was drunk, he played "Hundred Birds Facing the Phoenix" with a cheerful rhythm and a loud voice. Although suona is not as popular as it used to be, Master Jiao's enthusiasm for suona has not diminished, and he still loves suona as always. He fell to the ground and fell asleep.

Another time is the death of the village chief Dou of Huozhuang. The character and prestige of the village chief are worthy of the "hundred birds facing the phoenix". He left a deep impression in his heart, even if he vomited blood, he would not give up, and used his own life to compose a touching "Hundred Birds and Phoenix". At the end of the film, Tianming was alone in front of his master's grave and blew "Hundred Birds to the Phoenix" in tears. At this time, the rhythm was slow and his emotions were low. Surrounding the empty high slope was a sad song, which fully expressed the Tianming's love and reluctance to his master.

When the suona rings, all birds are king. This song has a profound origin, and only those who dedicate their lives like the phoenix are eligible to enjoy this song. However, in this movie, there are three characters who are related to this "hundred birds facing the phoenix" - Jiao Sanye, Zha Laozi, and Dou Village Chief. Among the three people, some are worthy of this song, some are not, but those who are worthy are not allowed to play it for themselves, and those who are not worthy ask others to play it, forming a sharp contrast with each other. The master also refused to play "Hundred Birds and the Phoenix" for Mr. Cha even when others paid more, because in the master's view, only the selfless dedication and noble anti-Japanese hero like Dou Village Chief can bear this song and stick to it with actions. With the spirit and style of the craftsman, this craftsman spirit is also the unique character of traditional Chinese craftsmen. However, before he died, he did not allow his apprentices to brag to him. Jiao Sanye dedicated his life to suona. He wholeheartedly carried forward the spirit of suona artist and passed this spirit to his successors.

He showed the spirit of sticking to the traditional culture of blowing suona incisively and vividly, which really made the audience unforgettable. However, the suona team has been bleak with the process of social urbanization and the collapse of traditional customs and rituals. Facing the impact of social changes on traditional suona classes, both Jiao Sanye and Youjiaban could only show a deep sense of powerlessness. But Jiao Sanye continued to encourage his disciples: "Be calm and concentrate on the suona in your hand." "The suona is not for others, but for yourself." After a fight with supporters of a Western band, the destroyed suonas scattered all over the floor, when Jiao Sanye blew a hundred birds toward the phoenix to the village chief of Huocun, he blew one drop, two drops, three drops from the chest to the outside of the suona... The blood of the suona class is a shocking prophecy symbol of the inevitable decline of the suona class. But this is also his last adherence to this craftsmanship. What Jiao Sanye is blowing is not a suona, but a belief, persistence, spirit, and inheritance!

This film is not telling a story, but a spirit of "living to the death". When the Suona class, which is destined to decline in the tide of urbanization, is struggling to the death, this is not a kind of face to the end. The reluctance to support is an unyielding resistance to life and death. Master Jiao did not see the wrong person, and Tianming never gave up his hope for suona. Tianming keeps running around the hometown of the brothers and the modern city of Xi'an where the brothers work. What he shoulders is the heavy entrustment of the master and the arduous task of continuing and promoting the tradition. When Jiao Sanye passed on the successor, he said a word: Only those who can blow the suona to the bone will do their best to keep this job and pass it on. Let's look at us again. Maybe we haven't learned any craftsmanship that has been passed down from generation to generation, but each of us has our own studies or jobs. If we have a tenth of the investment in the suona business like Jiao Sanye, we may have already achieved something. Great achievement.

This film is not only teaching life, but also teaching things to do. To be a person, learn to give sincerity, and to persevere in doing things. No matter how noisy and flashy the outside world is, we must always have our own perseverance in our hearts! The suona solo "Hundred Birds Facing the Phoenix" is full of warm and cheerful emotions, and the movie "Hundred Birds Facing the Phoenix" also brings vitality to the film market with national characteristics. . The rhyme is still there at the end of the song, we want to forever cast the soul of the nation, not just the empty regret of "Kunshan jade broken suona sings, the phoenix left is a sad song".