from the author's point of view, several screenwriters of Hou Hsiao-hsien have pulled a light and pleasant text into reality, pulled it into human ethics and pulled it into the political structure, and talked about
Wang Xiaobo from the inheritance and development of the text. Arbitrary and extravagant rewriting is much more clever.
An older Taiwanese director filmed the story of the Tang Dynasty when Japan shot a lot of scenes. Can you imagine how ambiguous the image language is?
Although I am not a native of the Central Plains, I have always understood the terrain and landforms of the old Tang Dynasty for more than 20 years It's a mistake, Wei Bo's style in Hebei and Hebei and the difference between Japan and Kansai, please defend yourself~)
Taiwanese people's unique island tragedies are also overflowing in the film. This normal person understands whether the aborigines or the new immigrants brought by the government belong. I feel setbacks and Japan and the mainland are constantly cutting more and more chaotically
, but the people of Tang Dynasty do not have the kind of sadness that is unique to the modern Far Eastern islands. The meaning of worry is that the
character explanation is too minimal. The wife and husband Mu Cong seems to have a dialogue in Cannes. The mainland version is completely dumb. Why bother inserting a Japanese character without speaking?
Aside from my lack of willingness to look at this story from the perspective of a romantic film, wouldn't it admit that the screenwriters forced Tang people to talk about love?
So I really have to think about how to enter this really unique text
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But for The 440,000-foot negative should also be repainted~
Li Pingbin has worked hard to bring some spiritual energy to the wind~ But the characters fall too deep to fly~
Shu Qi, as a modern lover, may have spiritual energy But being a knight killer is not enough~
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Finally figured out the way out for the second assassin, Nie Yinniang, is to forget the legend of the Tang Dynasty, forget the Japanese architecture, forget the confusion of the landscape and vegetation, forget Wen Bai, forget the whole late Tang Dynasty background, forget to go to any museum in Xi'an, and forget Pushu, and it is complete Considering the modernity in it as an overhead allegory, it is actually a modern film (really, Li Pingbin has always been very modern)
The only correct hint for viewing the thorn film is the strangely orchestrated French folk song ending song that is inexplicable The mix is the essence of the film, but it appeared at the end of the film~!
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