Perhaps it is because I have seen Ekin Cheng's Young and Dangerous Boys, Chow Yun-fat's Shanghai Bund, and Jin Yong's Jianghu Wuxia, and I am immune to such plots that wash hands in a golden basin but cannot wash away the rivers and lakes. I think when I saw Xiaoao Jianghu at the beginning, the first chapter was to wash hands in a golden basin, but the whole family died, which really shocked my heart. Later, watching Sweet Honey, New York Street, the eldest brother played by Zeng Zhiwei died tragically at the hands of a group of gangsters. Maggie Cheung was kneeling and crying with the corpse. Later, when I saw the city of paradise, a group of ten-year-old children showed off their AK-47s and MG5s and shot their elder brothers, which made me deeply understand the sentence that Qianlang died on the beach. So, when I saw Carlito collapsed on the platform, I was not surprised or sad, but felt that it was a blessing for him to die in the arms of his lover, and he had the strength to give a large sum of money to his beloved. The person is simply a kind of luxury happiness.
Once you enter the rivers and lakes, it is difficult to get out of the rivers and lakes. This is an old tune, but all the big movies in the world love it. As long as the male lead is loyal and unrestrained, and the female lead is charming and moving, the scenes of life and death can always earn box office and tears.
For some reason, I kind of hate this ending. Just like the rhetoric of parents, don't stand out, don't get into trouble, don't engage in politics, don't enter the underworld. These sermons cut off a lot of dreams, and people dare not risk stumbling before facing the life they really want.
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