a good story of wretched justice and a paradoxical loveless joy can only be written by Zhang Ailing. Changing to the mainland’s conventional thinking, it must be our handsome and unrestrained male soldier sneaking into the enemy’s interior, and soon captured the heart of the enemy’s glamorous female agent (usually the daughter of a certain high-ranking official), so the female agent abandoned the secret to help the male soldier. , In the end, not only did the man succeed in his merits, but Tao Taoran also embraced the beauty - or abandoned the beauty. This principle is like Mr. Bo Yang rewriting Zhaojun's departure, saying: Su Wu can get a passport, but Zhaojun can't do it. Because I made money by marrying a Yi girl, Su Wu, but you lost greatly when Zhaojun went out of the country, as if the fat water fell out of thin air into an outsider's field. What is fat water? Feishui is a woman.
Or, be more "sublime", reluctantly cut love, just like Fan Li sending Xi Shi into the fire pit, let the fat water perform her mission. It must portray a woman's profound justice, patience, and the most important thing-when it is successful, the woman must commit suicide to show her name. As for the man who sent the woman into the fire pit, he probably didn't have to die, because he has a more important task of restoring or building a nation waiting for him to complete.
So "Lust Caution" is such a strange story. Zhang Ailing was silent, and a ray of light was set off from the corner of the airtight curtain, which revealed a woman's sadness that couldn't be more profound. She doesn't understand the righteousness of saving the country, but in fact she disdains it. Wang Jiazhi shouldn't be an image in Ang Lee's film sequence at all. She is clearly distinguished, and she is a white tassel. And if Zhang Ailing is offered to shoot, Kuang Yumin’s role may be even more unbearable than Liang Runsheng—but Li An is reluctant.
The secretion of revolutionary hormones is high, but the lines that Kuang Yumin is reading passionately are: Drinking a knife is fast, and it is worthy of the young head-Wang Jingwei's famous line. He couldn't straighten up his waist when he laughed, and Li An was indeed a bad person, and he calmly hid such a huge irony. A beautiful young man, talented, infinite passion, and childish incomparable, to count these points, Mr. Wang actually meets all of them. It's a pity that Leehom Wang is only willing to perform that hopelessly naive, but he can't spread the haze behind this seemingly sincere blood. So ugly and cowardly, Zhang Ailing’s 20,000-character short story was written so that Ang Lee’s two-hour blockbuster film couldn’t be shot.
He and them waved to her upstairs, "Wang Jiazhi, you are coming up." In response to the call, she stood in the empty field, and when she looked back, there was nothing to recover; she knew that everyone had planned well. The chess game, she should be looking forward to something in her heart, but he retired, and he retired from this end of the world. Later, he eagerly kissed her, "I won't let you hurt." Zhang Ailing is poisonous, Kuang Yumin is cruel, and Li An is good or bad. Poisonous, vicious, and bad, I thought darkly: It was exactly at this time, after she almost shocked the world, after she stated the lust for the sea with Mr. Yi... In the
abandoned daughter's
"Pushing Hand", the father was indifferent. Said to his son, "When the Red Guards came, I could only protect one. Your mother was beaten to death like that. In this life, I am sorry to your mother, I can only be worthy of you." Will also be sold, the beautiful Jiaqian leaned against the door frame, the only time her eyes were full of tears, that was the last time in her life the betrayal and abandonment (from a man). The father must save the son, but the daughter must be abandoned. The same logic is skillfully grafted in "Lust Caution": Wang Jiazhi's father took his son to the UK, but threw his daughter into the flames of war. Of China. Such a handy plot transplantation smoothly added a bit of Freudian background to Wang Jiazhi: a daughter without a father, either a father killing or an Electra, could not be more clichéd.
Said she was for the country's righteousness? I sneered. Zhang Ailing is only willing to write about all men and women without love. How can Director Li have the mind and skill to portray the image of salvation? Just such a mediocre picture of hunger and death, Li Ang's lens has been gently slid, the war of resistance is just a dispensable background, and it is so flat and pale that it is just like a curtain, setting off a love of the country. Wang Jiazhi is a girl abandoned by her father. Just like Hong Kong is an isolated island separated from the motherland, only people who have nothing will have the courage to make a desperate move. The explosion on the stage is not so much talent as it is the metaphorical loneliness at that moment. Life is like a play, and play is like life. She is so nostalgic that she refuses to step off the stage. She hears thousands of people shouting "China cannot die", and the feelings of so many orphans have also turned into surging blood. Recalling that the bustling street scene passed by the car window, she was sitting on the tram with a small smile on her mouth. Where is the passion of the patriotic youth, and where is the warrior woman who understands the fierce revolution?
Ang Lee's Hong Kong is too clean, so clean, so that the bloody revolution has become a romantic. Wang Jiazhi's youth was too barren, so barren that the impulse of loneliness strangled the track of his life. Even at the end, the last thing her family watched was an aunt who returned home to cook: firewood, rice, oil fume, market love, this is the most gorgeous and cold spirit of Zhang Ailing. How many thousands of families and countries can there be, how many mountains and rivers can there be, everything is no match for the irredeemable loneliness of a woman.
She has her crimson lips lit, her slender figure swaying in the drizzle, she is not a jade dragon, nor is she an independent and strong Weiwei or Jiaqian, Zhang Ailing's pen always only writes about little women, Even if it is thrown into the center of the huge torrent of history. However, what Wang Jiazhi continues is still the fate of Lee Ang's heroines, the fate of being abandoned and betrayed. Looking at the ring, the diamond's light is always brighter than the human heart. She may be touched, and Xu is just tired, but what matters is that, misunderstanding or self-deception, her life has always been forever. There will be no better time. With a flash of inspiration and a moment of sincerity, Fan Liuyuan spoke to the white tassels, and that was nothing more.
The actor Ruqing
once wrote in an essay that Zhang Ailing used to write about loveless joy. She thought she was familiar with Ailing, but she never expected that the ultimate was in "Lust Caution". At the end of Zhang Ailing's novel, it is cold to the bone after reading it once, but Li Ang is reluctant to bear it. Speaking with Y in a mean smile, this movie might as well be renamed "Biography of a Patriotic Prostitute", which is a bit poisonous, but not bad.
Kuang Yumin and others went to meet Lao Cao, Wang Jiazhi and others looked downstairs, what was wrong, he wanted to see the prostitute on the terrace, shaking his fan to stare at each other; in order to act out Mrs. Mai’s drama, who did Wang Jiazhi follow? To meet Liang Runsheng who lingers on the flower street; to meet with Mr. Yi, he also has to insert a scene in which the Japanese mistakenly used a prostitute to pull into a private room. Ang Lee’s metaphors are explicit enough, and he desperately used his life to make sex scenes. It is said to be shocking and profound: from the pure vent of desire and the invisibleness of Wang Jiazhi, to the unpredictable postures that permeate the characters’ hearts. Fear, and finally communication and even blindfolded Mr. Yi's eyes, which symbolized that he had relaxed his guard, and instead fell into an invisible situation-so all kinds of things. Ang Lee was struggling to shoot, and the audience cheered endlessly, but Wang Jiazhi knew it was nothing more than a prostitute.
She smiled and said to Mr. Yi, "You called me here because you want me to be your prostitute." Mr. Yi's answer was surprisingly frank: I know better than you to be a prostitute. The fears that had been laid before, and the distinction between good and evil that had been fully resolved from the standpoint of human nature, became clear at this moment, and Li An’s expression is only this: they are both prostitutes from the End of the World, and when they meet each other, they see the truth.
Quietly, Li Ang had already made up his mind. This is no longer Zhang Ailing's lust, nor is it another cold-hearted loveless joy. Ang Lee is not Zhang Ailing, nor Antonioni. Ang Lee, who lives in the middle class circle of the United States day by day, is becoming more and more honest. He has to mix the true feelings into Mr. Yi's eyes-otherwise, how can the audience stand it? Liang Chaowei's tears lingered in his eyes twice accordingly, once when he was listening to Tianya Singer, and once when Wang Jiazhi's party was executed, and he sat alone on the bed in front of the king. How did the 20,000-character novel be transformed into such a long movie? Ang Lee made a movie so desperately and desperately to reconcile the unbearable insidiousness, chasing the narrative history, but after all, he could only make a few tears. Light.
He still stood up, continuing the myth that "a man has tears but never flicks". In the living room, the wife is playing cards.
To say that he loves her, I don't believe it.
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