I have always been fond of war movies. A really good war movie doesn't require the emotional involvement of a woman. War can make women go away, and men's blood and majesty are enough to complete the special mission given by the movie. But the succession and transformation of "King of Mongolia" is inseparable from women, and several key points are also the strong roles of women. The young Temujin followed his father on a long journey to choose the daughter of Mie'erqiren as his bride. On the way, Boerte, the daughter of the leader of the Hongjithorn tribe, said to the young Temujin, choose me as the bride. Two young teenagers stood on the vast and vast grassland, looking at each other. At this time, a melodious background music sounded. Whether it's a qin, a flute, or a trumpet, I don't know. In the clear music, the simple and simple emotions of the teenager, like the spring on the grassland, extend toward the unknown vast distance. Tent, fire, horses, crowd, men and wine. The juvenile bronze-colored wide flat face, rough and dark yellow skin, black and white slit pupils, pure smiling face. These are brief glimpses in the film, fleeting.
Fight, flee, fight, imprison. Ling Lie's scramble for the beautiful love tormented her whole body. People have become more forbearing, tenacious, wise and willing to do whatever they want, without any scruples. Boertie was taken away by the enemy, and when he was rescued, he was already a potbellied body. The picture of Temujin leaning over and stroking the fetal position with solemn promise always makes people startled and sighed. Boertie traded his body with a business traveler, completed a arduous journey, and gave birth to a daughter. It took a lot of hard work to save the man he loved. Wrapped in a face scarf, she bribed the guards with a lot of money, and stood on the chain bridge, staring at her lover in a cage on the edge of a high cliff. Even if only the eyes are exposed, the four eyes are looking at each other, and the feeling is so tacit. The camera moved forward strongly, Temujin's haggard face was clearly magnified, and Bo Ertie was desperately trying to contain the slight tears. Such a picture makes people temporarily forget that this is a historical story, but a strong and abundant interpretation of love. It is not easy for a woman to defend her loved one with such force with her body in the vast sandstorm. This raw and clean love is shocking. The hustle and bustle of the majestic battlefield falls far behind the emotional picture.
The best actor in the film should be the actor of Boertie, and the steadfast courage of the Mongolian woman is convincing. Photography and music are excellent. In the somber background music, green, yellow, black, white and other colors are strong, and they migrate and transform quickly, showing the strong picture beauty of grassland, snow, desert, etc. in the soothing lens. The deep, vast, and eerie grassland sometimes resembles a flowing oil painting, silently asking the audience's appreciation. The supernatural Tunguska monks know everything, which is a kind of spiritual totem deliberately described by the director. In order for Temujin in the iron cage to capture this place in the future without destroying the temple, he worked tirelessly to send a letter to Boerte for him. The back of the monk trudging through the snowy desert, with broken shoes, lonely and weak back, and the picture of staggering to the ground and passing away with the token in his hand, secretly exudes a kind of tragic beauty. Asano Tadanobu's disguise is acceptable, but Temujin's brave image is not in place. The Japanese's forbearance is too heavy, and the domineering spirit of a generation of kings is not enough. Several key maneuvers did not reveal the power of shock. Slightly disappointed after watching. Jamuka, played by Sun Honglei, is quite interesting. The hero's cunning and deep cunning, vague conceit and madness, neurotic domineering and uninhibited bandit spirit, etc., have a certain digging aura in every gesture.
It is an indisputable fact that the director and the protagonist are from other countries, the unsatisfactory plot, and the lack of bone strength in the historical scenes are ultimately disappointing. If the theme is not positioned as the Mongolian king, but a fictional legend, and if you don't care about the truth and the false, the camera is sometimes gloomy and depressing, and sometimes the literary atmosphere of white snow and green grass can give birth to a bit of the implication of the sky and the earth. .
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