Some time ago, when Chen Shui-bian was released from prison, it was Ma Ying-jeou who received the most criticism. He was supposed to be released before the New Year's Eve, but because the official document was stuck on the highway, it was postponed until after the New Year's Day holiday, and Chen Shui-bian was released from prison. In fact, in this farce, I kept a deep understanding of Ma Ying-jeou, because his whole life was a typical example of being a bitch and wanting to build an archway, so this is just another performance of Ma Ying-jeou. Like everyone, he wanted to please everyone. He didn't want to hurt the people who opposed the release, nor did he want to offend those who supported the release. As a result, he lost ground. When Chen Shui-bian was finally released from prison, everyone unanimously criticized him. Even those who oppose the release may not initially attribute the blame to the government, but to the victory of the Green Camp, and will eventually take their anger out on the out-of-the-box idiot. Therefore, Ma Ying-jeou lost face, and lost again. In fact, no matter from the perspective of cross-strait, voters, and political relations, Ma Ying-jeou's personality determines his defeat at all levels. Zhu Bajie looked in the mirror - it's not people inside or outside, this is the end of trying to please everyone. So, I love Woody Allen. When watching Woody Allen movies, I always have a strong sense of substitution. In his films, one is always talking and the other is listening. In fact, their relationship is more like an upside down. The person who speaks actually needs to soothe and vent their emotions, and the person who listens just pretends to be listening. Whenever you become aware of their relationship, you become that psychopath in need of soothing. The audience becomes a character in the film, and once this positional relationship is translated, Woody Allen's magic is realized. As a result, Woody Allen is the listener who pretends to be listening, and the audience uses the characters to express their love and need for love. Woody Allen deserves a liking because he never wanted to build a torii. He never hides his affection for the audience. Maybe he doesn't invite the most popular stars, but he always chooses those with audience affinity, such as Cate Blanchett and Colin Firth. His pictures are always delicate, subdued, and elegantly arranged; he never pretends to have depth, borrowing his cowardly and pitiful appearance to speak of Bergman, Dante, Hemingway (the is a failure), not only without the yawning intellectual habit, but more like an irony about it. In his films, there is no European-style sharp, repeated and in-depth thinking about emotion, rights, nor the superficial life philosophy of "Once Upon a Time in America" and "The Godfather". Only Woody Allen himself, pale and curly, told you that you can be as vulnerable as he is. Life doesn't need an answer.
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