The first screening day of the main competition unit of the 3rd#Faro IslandFilm Festival# brings you the opening film "Crouching Tiger, Hidden Dragon". The following is the evaluation of the audience!
H:
I just want to know what kind of feelings Li Mubai has towards Yu Jiaolong? The overall style is very light (not meaningless)... It's not the kind of rude fighting with blood splashing, but a kind of realm and peace in the sword, light, sword and shadow.
Grey cat:
The best thing about this movie is the sound and picture.
Two fight scenes, the night battle in the city and the bamboo forest sword dance. The former uses the classical rhythm of Beijing opera to lead the rhythm and exaggerate the tense atmosphere, making people addicted. The latter is based on the sound of Xiao Ming, accompanied by the sound of bamboo and sword, and the sound is quiet, making the audience deeply feel the loneliness and loneliness of Li Mubai and Yu Jiaolong. For the rest of the show, the lively Xinjiang Rewapu shows the desert chase, and the melodious cello, a Western musical instrument, opens with a rather long and soothing flavor, and the audience can also feel a little sadness and euphemism. A variety of musical instruments, with different timbres and tastes, have played a role in promoting, rendering, and hinting in the film, which can not help but make people admire.
The picture of the film also has some advantages. The colors are bright but not too full, yet prudent. The color matching is also pleasing to the eye. For example, in the scene of the bamboo forest, between two white-clothed knights fighting swords and green bamboo, there is a strong contrast between plain white and verdant green, which is quite a bit like cranes dancing in the forest. The director places great emphasis on the harmony and unity of the colors of the pictures, which is more or less the same as the color matching of traditional Chinese painting art. The symmetry of the structure is not deliberately emphasized, but this does not mean that the picture is out of balance. The director chose to lengthen the depth of field to make the picture full of artistic conception and increase the sense of space. At the same time, it also corresponds to Chinese painting.
In contrast, the story seems a bit cliché and not new enough. The original echoes of directors Hu and Long have been weakened, increasing the weight of Li and Yu. Some parts of the idea seem to be a little ambiguous.
But that doesn't stop the movie from being good, though not great.
Beidou little J:
The Bamboo Forest Opera is an absolute splendid piece of film history. "Crouching Tiger, Hidden Dragon" shows the speciality of Ang Lee. He has both Chinese and Western thinking, which makes a martial arts film resonate with the greatest common divisor.
I want to be you:
Michelle Yeoh's speech has made me dance, I have always had a hard time holding back when Zhang Zhen speaks, the movie is still good after all (recall that Zhang Zhen's accent matches his reckless image, and Yang reflects her conservativeness)
Snow Dawn:
I think it's better not to suppress your emotions too much in this life. Now that I think about it, I'm still a bit petty.
Flying against the light:
"I'm not from an official family, but a woman should obey no less morality and etiquette in her life." One sentence put Yu Xiulian and Yu Jiaolong against each other. Li Mubai and Yu Xiulian were trapped by the etiquette, while Yu Jiaolong pursued herself wholeheartedly. The rivers and lakes in their hearts live for themselves. The rivers and lakes here are actually their inner passions and desires, not only their generation, but also the blue-eyed foxes and Jiangnan cranes of the previous generation. Isn’t that the case? The rivers and lakes are their inner world. I like Yu Jiaolong, who pursues fun and freedom, but I prefer Yu Xiulian, who is silently in love.
Love you like a love:
The most advanced martial arts movie in China. Director Ang Lee is one of the best storytellers. Many scenes in Crouching Tiger, Hidden Dragon are worth watching repeatedly, and the lines are worth savoring. This is destined to be a landmark movie. The scenes of fighting at night, desert, inn, escort bureau, and bamboo forest are really classics. After watching it, you will be even more amazed at the director's handling and arrangement of each scene. The four characters in the play are deeply trapped in the rivers and lakes, and they want to get rid of the traditional etiquette and ask the world to get real freedom, but how can people in the rivers and lakes get freedom and how to be unrestrained, maybe only like Yu Jiaolong gently jumping off the cliff. Bar.
Shawshank de Prisoner:
Under the timeless and leisurely landscape paintings, the interweaving of passion and desire is surging. Whether it is Yu Xiulian's restraint and forbearance or Yu Jiaolong's straightforward willfulness, the love that follows her heart is so meaningful and touching.
Xiaofeng and your waning moon:
The beauty of the oriental martial arts with spirit and rhythm, the soundtrack and photography are quite excellent. Jianghu is not about swords and swords, nor is it a simple love between children. The core of Jianghu may not be about letting go, but about receiving and concealing. But the Shen Yun is there, but I still feel that there is something missing, the fluency of the script is still a little lacking, and the role of the blue-eyed fox is still a breath away.
Literary youth love Quentin:
Ang Lee, a director of non-martial arts films, has indeed presented an unparalleled martial arts spirit and a sense of beauty in the arena. He turned the rivers and lakes into a poem, and the next few scenes, especially the bamboo forest fight scenes and photography, almost made me drunk. The artistic conception and philosophy of the rivers and lakes presented must be the reason why the Oscar judges were so fascinated at that time.
Aurora vovo:
Form is greater than content. Ang Lee has undoubtedly put a lot of effort into audio-visual language (such as color grading, photography composition, and soundtrack). The aesthetics of the film is very beautiful in form, so that even if the audience cannot resonate with the plot, it can still be extremely excellent. The audio-visual experience has shortened the distance between the audience and the film very well. The scheduling of the bamboo forest fighting scene is very beautiful, and the movements of the characters are also extremely accurate (the audio-visual experience after the soundtrack is excellent, enough to be remembered in film history). vulgar.
However, Ang Lee still has some shortcomings in the polishing of the film content. The film still does not break out of the shackles of traditional martial arts films in the setting of visual symbols. The setting of many scenes seems to be too traditional and old-fashioned, which is a bit regrettable. At the same time, the setting of the plot also made me feel a little difficult to resonate. Compared to the fast-paced plot of traditional martial arts films, Ang Lee's plot setting in Crouching Tiger, Hidden Dragon seems a bit too procrastinated, and the characters sometimes seem too restrained and long-winded (but this just sets off the role of Yu Jiaolong. Delightful) The images of Li Mubai and Yu Xiulian trapped by feudal ethics are a bit different from the images of children in the rivers and lakes that we are familiar with at ordinary times. Substituting their images into the background of martial arts films to understand some people can't resonate.
Some parts of the film are inexplicably reminiscent of "Dragon Inn" in the last main competition unit, but it is also a martial arts film. This film has made great strides in the audio-visual experience (technological development), while the literary drama is dealt with. It is not as fierce as the Dragon Gate Inn, and the wind is loud, but it shows the subtle charm of the East well. And the martial arts are also done relatively smoothly. While achieving the fluency of contemporary action dramas, it also takes into account the ritual sense of traditional martial arts films. This is too beautifully done. But the martial arts show is too soft, which seems a little unsuitable for a martial arts film.
But this time, I have done a good job in character building, especially the role of Yu Jiaolong is quite eye-catching and pleasing, but Zhang Ziyi's handling of Yu Jiaolong is a little jerky in some places, and in some places it is handled differently. Some are too hard, some flaws are not hidden. But Zhang Ziyi's overall performance is still remarkable.
#FIFF3# For details on the score of the main competition journal - this link
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