When the opportunity came, there were not only political forces, guerrilla forces but also effective support from soldiers on the other side participating in eliminating enemy posts. People's war was also shown through supporting characters such as the mother in the battle with the enemy. When the guerrilla saw the enemy advancing, he asked: "Can we shoot yet, Mom?" The mother was chewing betel, her hand still pounding the betel and shaking her head "not yet". The mother was strangely calm. When the enemy came closer, the mother gave the order: "Fire". Only then did the gunners open fire. The mother's composure and calmness showed the people's solid position with the belief in defeating the enemy.
The film also devoted a line, exposing the invasive nature of the US. Besides the brief description, the enemy is always at the bar, also drinking, also smoking, also prostitutes, the filmmakers devoted a lot of effort to tell about the American advisor and his evil plot, using Vietnamese to fight Vietnamese, but at the same time not trusting Vietnamese, planning to eliminate Phuong after he assigned Phuong to kill his sister. The day Lieutenant Phuong was promoted to captain was also the day Phuong received the mission to kill Van with his own hands. The harsh reality helped Phuong wake up. Phuong realized that the path he was on was wrong, sinful, the joy of promotion could not erase the pain when his sister was tortured and about to be pushed to death. At the end of the film, the people destroyed the strategic hamlet, Phuong personally shot and killed the American advisor - the one who had pushed many families into a bloody battle. The soldiers, including Phuong, woke up and returned to the revolution. On the river, Phuong and Van were sitting on the boat, the young man calmly bent down, scooped up the river water to wash his face. The cleansing in the clear water of his motherland. Around him, Van and the people were joyful and happy, and his sister was the happiest - the sister who had successfully welcomed her younger brother back, not only with reason but also with wisdom and boundless love for him.
We encounter the spirit of community solidarity, village love right in the atmosphere at the beginning of the film. Between the character of Ms. Van and the neighbors who share the same fate, between the public and the private, they always blend together, they share the same reason to live. Also because of that great affection, Ms. Van is determined enough to chase her younger brother out of the house. When she was arrested and imprisoned, the group of prisoners loved and protected her and her children, that is also to protect the revolution... The film Noi Gio truly reflects the typical revolutionary movement in the Southern Delta. In the face of the invading enemy, everyone must unite. Without comradeship, without relatives... the political struggle movement in Noi Gio led by the character of Ms. Van cannot succeed. The enemy uses hundreds of tricks to suppress the revolution from within each family, in close relationships... the revolutionary masses also steadfastly fight on all fronts, from politics to armed violence.
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The portrait of the mass characters, the typical characteristics needed such as solidarity, sharing, helping each other in times of hardship, loyalty to the cause of national liberation, resilience and flexibility in the struggle of the revolutionary masses have been portrayed by filmmakers with great care. For the first time on the screen of Vietnamese feature films, Vietnamese audiences and international friends have witnessed the resilient, brave, intelligent and powerful image of the long-haired army.
Looking at the structure, we can see the unique features of the film Noi Gio. Usually in the structure of films, people see the equilibrium phase, the destruction of the equilibrium by an event, and finally the successful restoration of the equilibrium. The newly established equilibrium is often due to the transformation of the main character. (Warren Buckland, Film Research, Nha Nam and Tri Thuc Publishing House, 2011 - p. 74). But in the film Noi Gio, the newly established equilibrium is not entirely due to the transformation of the main character, but rather the maturity of
The women were gathered in the long-haired army, the awakening of the puppet soldiers when they realized the right thing, that they could not follow the invaders to fight against their nation along with their relatives and blood relatives. This collective element is very important. It is that which contributed to the decision to change Phuong.
The villains in literature and art during the war, especially on traditional national stages, are often portrayed with ugly faces, which the audience can recognize at first sight. The actions of the villains further demonstrate the evilness of the characters. In the film Noi Gio, the American advisor is described like that, but the puppet soldiers still have the simple features of farmers, notably the actor who plays Lieutenant Phuong is very handsome. That is also the way the film sees from the other side of the team its own flesh and blood brothers, sending a message to those who have temporarily lost their way to wake up, return to the common team, and fight against the enemy of the nation.
In 1966, when the US massively sent troops to the South and expanded the war to the North, the whole country lived in war, following the film Noi Gio , the film Nguyen Van Troi by director Bui Dinh Hac and director Ly Thai Bao was also released. This is a film about a real hero that is being praised by the whole country.
The main material of the film is the book Living like him by writer Tran Dinh Van, sent from the South, based on the story of Ms. Phan Thi Quyen, wife of hero Nguyen Van Troi, who planted mines on Cong Ly bridge to kill the US Secretary of Defense. Many details in Ms. Quyen's story were included in the film, but the film's script was formed quite uniquely, through the contributions of many people, including those working in the film industry, as well as those outside the film industry, many rounds of contributions.
ideas, including the comments of the leaders because everyone admired and loved the heroic actions of Mr. Troi and wanted to see Mr. Troi truly beautiful, representing the dignity and aspirations of the Vietnamese people, the will to win of the Vietnamese people. On the screenplay introducing the film, the script was confirmed to be a collective composition. The script was written by writer Phu Thang. It can be seen that there is something close to the way of writing folklore. The filmmakers determined that this is a lyrical epic ( History of Vietnamese Revolutionary Cinema , volume 1, Department of Cinema, 2003 - p.241).
The story in the film is simple, not many events, mainly in prison. The story takes place from the time Nguyen Van Troi was arrested until he was murdered by the enemy, his death fanned the flames of hatred, adding strength to the fight.
Nguyen Van Troi is a real character, his wife, Ms. Quyen, is a real character, many supporting characters such as Ms. Y, Ms. Chau, Nam Bo's mother, and Hue's mother are all real characters in real life. The director has painstakingly chosen Quang Tung, an amateur actor who looks similar to Mr. Troi. Mr. Troi's personality is a revealing personality, a personality that gathers the most noble qualities of a worker during the revolutionary period, benevolent, deeply loving his wife, understanding the nature of the enemy, ready to devote his youth to the cause of liberation, and no force can subdue him. Those qualities are revealed in his relationship with Quyen and while being captured and brutally tortured, when the enemy tries to bribe him. Those are the typical personalities and qualities that the youth generation in the anti-American resistance movement in the southern cities should have.
If Nguyen Van Troi's personality is a defined personality, revealed in different situations, then Quyen's personality can be said to be a fixed personality.
way of development. From an innocent, gentle girl, only wishing for a happy family life, Quyen gradually became enlightened, matured, became stronger, more profound, understood the revolutionary ideal, prison was truly a school for her.
The filmmakers succeeded in building a group of revolutionaries and patriots in prison, thanks to which Quyen grew up. They turned the prison into a revolutionary school, a place of love and solidarity, sharing food and clothes... Maintaining their integrity, not betraying their ideals, being resilient in the face of the enemy's cruel torture, when being interrogated and beaten with only one firm answer "I don't know", but when the characters returned to their comrades in the prison cells, as flesh and blood people, they shed sincere tears because their bodies suffered too much pain. "Coming back here with my sister and brother, I cried, but before them I never did". Despite being tortured in all forms, threatened by all means, they still taught each other to sing revolutionary songs passionately, as a way to encourage and keep each other's spirits up. Even though their ten-fingered hands were burned by the enemy and still had white bandages, they still held needles to teach Quyen to embroider words of love to give to her husband. In that group of imprisoned people, there was a radical revolutionary power, a will for freedom so strong that it made others feel that no prison, no iron door could imprison their spirit, destroy their will.
The enemies in the film are depicted as cunning, cruel, and beastly. One slowly selects each nail to hammer into the imprisoned woman's fingers.
The scene of Nguyen Van Troi in court, brave and full of attacking spirit, turning his trial into a place to condemn the enemy, the judges were confused, scared, cowering, the image of Troi leaning forward took up the whole frame, leaving a lasting impression.
strong impression on the audience. Later, a researcher also discussed that scene as evidence of insufficient handling, but we should not forget that with the audience's psychology at that time, Nguyen Van Troi was a person whose "death became immortal", a person "born like the truth", the audience easily accepted that scene. The audience needed to see the bravery of their hero. The camera lens from all angles, did not hide the admiration and respect for the hero.
When the film was completed, many places held rallies, beating drums and raising flags to welcome the film Nguyen Van Troi as if welcoming him back to the village. In some places, after watching the film, people organized to study the character Nguyen Van Troi and hoped to learn from his example ( History of Vietnamese Revolutionary Cinema , volume 1, Department of Cinema, 2003 - p.241). In this case, for the psychology of viewers during the war years, the image of the character Nguyen Van Troi in the film and the hero Nguyen Van Troi, the person who planted mines on Cong Ly Bridge to kill the US Secretary of Defense were one.
When talking about war, people always talk about soldiers. Although creating the image of soldiers holding guns and directly fighting on the front lines has always been an important and highly encouraged direction of writing, it was not until 1971 that Vietnamese cinema had the film Road to Mother's Home . The film was made according to the script of Bang Chau and Bui Dinh Hac, directed by Bui Dinh Hac.
The three main characters of the film are soldiers from different regions. Du, played by The Anh, is from the North, Ly, played by Ho Truong, is from the Central Highlands, and Nui, played by Lam To, is from Lang Vay, Central Vietnam. Even the choice of main characters from the three regions of the North, Central, and South
Being in the same group, fighting side by side, it can be seen that it is not a coincidence for the filmmakers.
The story of the film The Road to Motherland is based on real material that appeared during the most intense period of the resistance war against the US to save the country. According to the order of the Command, in any circumstances, any difficulties, the engineering battalion commanded by Ha had to complete a secret road through the forest, through the swamp to create conditions for infantry, artillery, and tanks to coordinate in the attack to liberate Lang Vay from the occupation of the US army. Keeping the road secret was a condition of survival.
To distract, protect the road, protect the secret of our attack, the engineering unit had to send people to do the diversionary mission. Three young men from the North, Central and South were assigned that dangerous mission. The three characters Du, Ly and Nui, the soldiers doing the diversionary mission and the engineering battalion were placed in an extremely tense dramatic situation. The three soldiers had to make a fake battlefield, attract the enemy's attention, attract enemy bombs and bullets, while the engineering battalion had to secretly open the road urgently, completing it in five days. The secret road-making battlefield, the diversionary battlefield, the shaking of the mountains and forests during the bombings, from that tragic reality emerged the image of a very beautiful, brave, simple, optimistic, and life-loving engineer soldier, ready to sacrifice himself for the mission. Nui, a young man from Lang Vay, was honest, simple, "ready to die to protect the road to liberate the homeland". Ly, a young man from the Central Highlands, was straightforward: "fighting is the only way to liberate the homeland". As for Du, a calm young man from the North, "if we only think about our village, our mother, we cannot win... We win because we think about something bigger." Simple, speaking simple words, they are soldiers as good as the earth, carrying within them the will and determination of the entire nation.
The diversionary battlefield had become a bomb bag. A confrontation between human willpower and steel. After each bombing, the soldiers on the diversionary battlefield in the smoke and fire of bullets and bombs happily reported to the command: "Hello, I bought it. I bought another batch. Everyone is healthy." The faces of each soldier were brave, clear, and optimistic. They were the masters of their circumstances, without any fear. Men of the legend of war. The diversionary battlefield had attracted enemy bombs and bullets for the secret path like a spear piercing the enemy's throat in Lang Vay.
During a fierce bombing, his teammates could not find Nui. All that remained was his personal belongings. There was a moment of silence and shock. I thought death was inevitable, but miraculously Nui did not die. Nui was lost alone in the forest. He not only tried to survive, but especially he tried not to leave the fight, not to forget his mission. The image of a muscular Nui with extraordinary strength, carrying bombs and using a lever to lift cluster bombs, rolling them down the road to destroy and block the enemy. Under Nui's eyes, the enemy troops panicked and scattered. The image of the soldier appeared like a heroic song about an army that fought every battle and won every victory. A Thach Sanh of the 20th century, that is the image people often talk about soldiers during the war years.
In the movie Road to Mother's Hometown , Nui is also portrayed as a simple, gentle, innocent, dreamy and loving boy. Nui has a girlfriend named Hue. They love each other but still tease and argue with each other... When on duty, facing the enemy, death, and bombs falling on his head, Nui still calmly makes a comb to give to his mother and his lover.
In The Road to Motherland , in addition to portraying the three engineer soldiers at the diversionary battle, the filmmakers also paid great attention to building