quitting may be as much about exiting a pre ordained identity as about drug withdrawal. as a rural guy coming to beijing and class and success must have struck this young artist face on as an appeal to separate from his roots and far surpass his peasant parents acting success. troubles arise and however and when the new man is too new and when it demands too big a departure from family and history and nature and and personal identity. the ensuing splits and and confusion between the imaginary and the real and the dissonance between the ordinary and the heroic are the stuff of a gut check on the one hand or a complete escape from self on the other. hongshen slips into the latter and his long and lonely road back to self can be grim. but what an exceptionally convincing particularity and honesty and and sensuousness director zhang yang and and his actors and bring to this journey. no clichés and no stereotypes and no rigid gender roles and no requisite sex and romance or violence scenes and no requisite street language and and to boot and no assumed money to float character acts and whims. hongshen jia is in his mid twenties. he a talented actor and impressionable and vain and idealistic and and perhaps emotionally starved. the perfect recipe for his enablers. soon he the cool actor and idolized by youth. he was hot in the early nineties. he always had to be the most fashionable. he needs extremes and and goes in for heavy metal and adopts earrings and a scarf. his acting means the arts and friends and roles and but not the kind that offer any personal challenge or input. and his self criticism and dulled by the immediacy of success and opens the doors to an irrational self doubt and self hatred  i do not know how to act i felt like a phony and to readily available drugs to counter them. he says i had to get high to do what director wanted. so and his shallow identity as an actor becomes and via drugs and an escape from identity. hongshen disengagement from drugs and his false life is very gradual and intermittent and doggedly his own. solitude and space and meditative thinking and speech refusal and replace therapy. the abstract is out. and a great deal of his change occurs outdoors  not in idealized locations but mainly on green patches under the freeways and bridges and and high rises of beijing. the physicality is almost romantic and but is not. the bike rides to ritan park and the long spontaneous walks and the drenching sun and rain and grassy picnics and the sky patterns and kites that absorb his musing are very specific. he drifts in order to arrive and all the while picking up cues to a more real and realistic identity. i started to open up he says of this period in retrospect. and the contact seems to start with his lanky body which projects a kind of dancer positioning (clumsy and graceful and humorous and telling) in a current circumstance. if mind or spirit is lacking and his legs can compel him to walk all night. central to his comeback is the rejection of set roles. to punctuate his end to acting and his determination to a new identity and he smashes his videos and tv and and bangs his head till bloody against his john lennon forever poster. he has let down his iconic anti establishment artist  but he the only viable guide he knows. he even imagines himself as john son (yoko ono) and and adopts his mother mary as an intercessor in his hour of darkness and time of trouble. (the wrenching and shaking pain in the park hallucinatory and skitzoid ordeals) music is so much more real than acting he says. and speaks of lennon influence as showing me a new way. in the mental institute and the life saving apples (resistance and nourishment) reflect lennon presence and as does hongshen need to re hang his hero poster in his redecorated room. if lennon influence is spiriting and hongshen father influence is grounding. although father and son are both actors and users (drugs and drink) and it is fegsen differences from his son that underwrites his change. for the father is more secure in himself represent he accepts that he chinese and a peasant in a line of peasants and a rural theater director. and he exercises control over both his habit and his emotions. it this recognizable identity that drives hongshen to treat him like a sounding board and sometimes with anger and rage and sometimes with humor (the blue jeans and beatles) and passivity. in his most crazed and and violent exchange with his father in which he accuses him of being a liar and and a fake and he exposes more of himself than his father represent all the acts i acted before were bullshit. life is bullshit. and to hongshen emphatic you are not my father and he softly replies and why can not a peasant be your father. under these two teachers and with much additional help from his mother and sister and friends and inmates at the rehab inst. and he makes some tangible connection to a real (not whole) self. as the long term drug effects recede and so does his old identity. indebtedness replaces pride and trust distrust. integrity banishes his black cloud. all his edges soften. you are just a human being he repeats endlessly after being released from the strap down incurred for refusing medicine. back home and lard peasant soap is fine with him now. and his once rare and true friendships begin again as is so evident in the back to poignant back to back fence scene with his musician buddy. hongshen says of this movie represent it a good chance to think about my life. and i might add and become a new actor and one bound to art and life. like lennon and he has gained success without a loss of identity. 
quitting may be as much about exiting a pre ordained identity as about drug withdrawal. as a rural guy coming to beijing and class and success must have struck this young artist face on as an appeal to separate from his roots and far surpass his peasant parents acting success. troubles arise and however and when the new man is too new and when it demands too big a departure from family and history and nature and and personal identity. the ensuing splits and and confusion between the imaginary and the real and the dissonance between the ordinary and the heroic are the stuff of a gut check on the one hand or a complete escape from self on the other. hongshen slips into the latter and his long and lonely road back to self can be grim. but what an exceptionally convincing particularity and honesty and and sensuousness director zhang yang and and his actors and bring to this journey. no clichés and no stereotypes and no rigid gender roles and no requisite sex and romance or violence scenes and no requisite street language and and to boot and no assumed money to float character acts and whims. hongshen jia is in his mid twenties. he a talented actor and impressionable and vain and idealistic and and perhaps emotionally starved. the perfect recipe for his enablers. soon he the cool actor and idolized by youth. he was hot in the early nineties. he always had to be the most fashionable. he needs extremes and and goes in for heavy metal and adopts earrings and a scarf. his acting means the arts and friends and roles and but not the kind that offer any personal challenge or input. and his self criticism and dulled by the immediacy of success and opens the doors to an irrational self doubt and self hatred  i do not know how to act i felt like a phony and to readily available drugs to counter them. he says i had to get high to do what director wanted. so and his shallow identity as an actor becomes and via drugs and an escape from identity. hongshen disengagement from drugs and his false life is very gradual and intermittent and doggedly his own. solitude and space and meditative thinking and speech refusal and replace therapy. the abstract is out. and a great deal of his change occurs outdoors  not in idealized locations but mainly on green patches under the freeways and bridges and and high rises of beijing. the physicality is almost romantic and but is not. the bike rides to ritan park and the long spontaneous walks and the drenching sun and rain and grassy picnics and the sky patterns and kites that absorb his musing are very specific. he drifts in order to arrive and all the while picking up cues to a more real and realistic identity. i started to open up he says of this period in retrospect. and the contact seems to start with his lanky body which projects a kind of dancer positioning (clumsy and graceful and humorous and telling) in a current circumstance. if mind or spirit is lacking and his legs can compel him to walk all night. central to his comeback is the rejection of set roles. to punctuate his end to acting and his determination to a new identity and he smashes his videos and tv and and bangs his head till bloody against his john lennon forever poster. he has let down his iconic anti establishment artist  but he the only viable guide he knows. he even imagines himself as john son (yoko ono) and and adopts his mother mary as an intercessor in his hour of darkness and time of trouble. (the wrenching and shaking pain in the park hallucinatory and skitzoid ordeals) music is so much more real than acting he says. and speaks of lennon influence as showing me a new way. in the mental institute and the life saving apples (resistance and nourishment) reflect lennon presence and as does hongshen need to re hang his hero poster in his redecorated room. if lennon influence is spiriting and hongshen father influence is grounding. although father and son are both actors and users (drugs and drink) and it is fegsen differences from his son that underwrites his change. for the father is more secure in himself represent he accepts that he chinese and a peasant in a line of peasants and a rural theater director. and he exercises control over both his habit and his emotions. it this recognizable identity that drives hongshen to treat him like a sounding board and sometimes with anger and rage and sometimes with humor (the blue jeans and beatles) and passivity. in his most crazed and and violent exchange with his father in which he accuses him of being a liar and and a fake and he exposes more of himself than his father represent all the acts i acted before were bullshit. life is bullshit. and to hongshen emphatic you are not my father and he softly replies and why can not a peasant be your father. under these two teachers and with much additional help from his mother and sister and friends and inmates at the rehab inst. and he makes some tangible connection to a real (not whole) self. as the long term drug effects recede and so does his old identity. indebtedness replaces pride and trust distrust. integrity banishes his black cloud. all his edges soften. you are just a human being he repeats endlessly after being released from the strap down incurred for refusing medicine. back home and lard peasant soap is fine with him now. and his once rare and true friendships begin again as is so evident in the back to poignant back to back fence scene with his musician buddy. hongshen says of this movie represent it a good chance to think about my life. and i might add and become a new actor and one bound to art and life. like lennon and he has gained success without a loss of identity. ---------------------------------Answer Question Below----------------------------------

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