The temples are full of beauty, and the fragrance has already filled the road.
The so-called comet is inseparable from the tragic background of beauty's twilight. Eva from Wisconsin successfully broke into Hollywood through cruel and bizarre fraud and deceit, and became the follower of the dazzling and majestic female star Margaux. She even gained all the worldly honors and medals that belonged to her by concentrating on courting drama critics and having ambiguous conversations with big directors.
The flames flickered and the flames raged.
Margaux's splendid wrist and frosty snow is a true general. She has no scruples in disguising selfishness, or she has been tired of disguising herself. As she said, "A woman's career is really funny. Faster, and the things that are left on the stairs, forget that when you become a woman again, you will need them again.” What
every woman loses on the road to worldly success is childish innocence, just like Cao Xueqin What is mourned is the dredging world of withered youth and childishness. Cao Xueqin's tragic tragedies are directed at the tragedy of women who are married to men's utilitarian moral system, while the tragedy of comet beauties is a tragedy in which flamboyance gathers and cultivates for a lifetime.
After becoming famous, Eva said what she said was not her own nature, but the instigating remarks of others. In one sentence, the truth of the soul that was entangled and bound between fame and fortune was revealed.
The eyebrows are like mountains in the distance, and the lips are painted with sand. Zhu's career is gone forever. The film industry is gone forever, and he is tossing around in the ravines. All kinds of men in Vanity Fair will become the ultimate in the fate of comets. It's a day of self-destruction.
The behind-the-scenes mastermind, or manipulative power, that is superior to all living beings refers to an inherently defective system. The system needs to be absorbed, and while absorbing it, it also teaches people to spray perfume for the sake of respecting others, and even allows them to solve the ultimate problem of the conflict between personality and system by cutting their feet to fit their feet.
The pretty face is bright and moving, but in essence it lacks the humane power of self-salvation. In the end, Eva's valet appeared. When she put on a colorful feather coat and admired herself in the mirror with Eva's trophy, her mind was already immersed in light and sound.
"Whether a woman likes it or not, every woman's career will end."
In the end, Eva, the pseudo-white lotus, could not escape the fate of ups and downs and silence, because the inherent flaws of human nature made her mind focus on the more painful loneliness and depression. The beautiful Yanshi all want to seize the wealth to the greatest extent and occupy the youth, but they have never regretted the bad deeds caused by disregarding the rules of the game.
People are the ultimate goal, but comet beauties regard themselves as a means to gain fame and fortune. In this system, men and women have similar personalities, and they say the old sayings that repeat the routines. The aging is the frozen self-solidification of the system. The incredible is the system's penetration and control over the overall situation, and the real temperament is extremely rich. Personalized speech is forgotten in the grief of human disqualification.
The sound of the waves is still the same, and the moments of Eva's followers' self-appreciation are placed in a multi-dimensional mirror, creating a light and shadow effect - countless comet beauties cater to the mutilated and humiliated society by sacrificing individuality. The scene at that moment endows the film with infinite reverie and rhythm, allowing people to back up their first drafts in a more careful way, and to examine those confusions entangled in the system outside the Qingming enlightenment.
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