Four points are given to the composition, and the film's use of light and shadow is simply perfect, eerie, beautiful, extravagant, mysterious and mysterious, and the oriental aesthetics are at a glance.
In comparison, the intensity and concentration of the film's dramatic conflict is slightly lacking in stamina. The film tells the story from an outsider's perspective from beginning to end, without a climax of the plot, and the rhythm of the story is as dull as white water.
In any film, the construction of dramatic conflict serves the formation and transmission of emotional power, and the film's handling of the rhythm of certain emotions is somewhat awkward and cramped. The relationship between Sayuri and the chairman not only does not play a role in supporting the main line in the film, but even if it exists as a sub-line, it can achieve an unsatisfactory effect.
Any man will surrender to her pair of gray cut pupils.
The identity of a geisha is Sayuri's heaven and her hell. She almost tends to exist as a symbolic tool. Heaven and hell, night and day, Sayuri embraces beauty and silence all day long. In the end, she escapes from women. The narrow space formed by them and the turbulent world war, this is the flash of her unique humanity.
By the wooden bridge, a cup of cherry shaved ice, a man as warm as jade, that is the taste she has never tasted, the sweetness of cherries, the throbbing of love at first taste, from then on, all efforts are to be able to stand by the man's side .
But the man's feelings for her are ambiguous. When did he fall in love with Sayuri, next to the wooden bridge that he dreamed of in the middle of the night? Or a glimpse in the crowd? Or is it the crazy dance in the snow that is absolutely stunning in the capital? Compared with Sayuri, the chairman's love for her seems not so pure, he has his own career and family.
At the end of the film, the two take a leisurely walk by the river, which seems to be he, but maybe they can only be lovers in their twilight years, which is not a tragedy...
Why! Anyway, the oriental culture of domestic films has never been so beautiful...
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