"Raise the red lantern" is one of Zhang Yimou's films with the best combination of form and content, and its aesthetic form and allegorical symbolism are far superior to his later "The Golden Armor of the City". The film's satire on eastern absolutism is three-pointed. It is a bold experiment by Zhang Yimou. Such experimental films can be said to be rare in Chinese films.
The award of "Raise the red lantern" at the Venice Film Festival is not as absurd as domestic public opinion criticizes the ugly side of the nation to win foreigners' curious eyes. It is actually the Western film circle's appreciation of Zhang Yimou's unique visual style. Combining the local culture, it is a positive feedback that conveys positive values at the same time, and it is also a commendation for Zhang Yimou's superb scene scheduling, sound and picture matching, camera language, art style and other directing techniques in the film
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"Raise the red lantern" is very particular about the use of color. The repeated appearance of different color tones in the film makes the audience's mood fluctuate with the plot. Mr. Qiao wanted to spend the night in a lady's room, and a red lantern was hung in front of the lady's door. The use of the classic three primary color printing method makes the red and yellow of the film very bright, and the variety of colorful costumes also makes the film more delicate
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The film adheres to and promotes the theme and style of the original "Wives and Concubines", reflecting the life scene and the corresponding survival principles of the "polygamous" feudal family. Gong Li's portrayal of Song Lian, the core character of the work, was very successful, and Caifei He, who played the third concubine, and Cao Cuifen, who played the second concubine, also performed brilliantly in the film. Mr. Chen's actor, Ma Jingwu, does not have any positive shots in the film. He mainly uses his voice to reflect his existence, but he shows a ruthless feudal paternalistic character to the ground
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Judging from the overall level and comprehensive strength of the film, the film is a shocking piece of Zhang Yimou's literary and artistic works. The film itself does not have too many overlapping sound scenes, nor does it have any sound effects added later. For example, in order to show the dominance of the dark forces, the dialogue of the master who has never appeared is relatively simple, but it is very effective, as if the master does not exist, but Control the life and death of everyone in the compound. It can be said that Zhang Yimou's film is a bit like the silent style of Korean director Kim Ki-deok. Zhang Yimou makes good use of the Beijing tune and gongs and drums, so the sound effects will not interfere with each other
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