Playing a story full of tension at an age where there is no sense of power at all, the audience gets not only mediocrity but also a sense of dislocation.
The typical manifestation is that the old intellectuals who have aged to such a degree are rich in knowledge and still have good literacy, and they cannot see that fame and fortune are not persuasive enough. At least it's bearish on fame and fortune.
What's more, the two have long found their position after years of running-in.
It's true that the Nobel Prize is big enough, conflicted enough, alluring enough to change many, many things, but the Nobel Prize is no match for death and old age.
The unwillingness of human beings stems from the fact that there is still hope, and from the possibility of a happier, happier and more comfortable life in the future. When the end of life is just around the corner, there is nothing to contend for.
Could it be possible to change a wife and husband, the so-called "young husband and wife are old companions", not everyone can be Yang Zhenning.
Changing the story to a middle-aged couple is immediately different, which is not only conducive to shaping the characters, but also facilitates the creation of conflicts and conflicts. (such as brother)
More importantly, the rhythm of the film is not slow.
Regardless of the differences in fame and fortune, or the addition of outsiders, it is more convincing. Even the role of a son, if it is a teenager, is more emotional and worth understanding.
Otherwise, the feeling of crying and crying is really not enough. The problem between parents is just personal honor. Is the attribution of personal honor more important than the existence of parents and the harmonious relationship between parents.
It is clear that black and white is the law, not the relationship between husband and wife.
It's really ridiculous when an old man is about to kiss a young girl, yes, men of any age like young and beautiful girls, but audiences don't like to see...
Regarding the title, if the story is true, then such a long-term companionship, or a long-term relationship of such companionship, is not strong enough.
Why? In the end, the heroine still forgives her husband?
If the male protagonist did not die, the ending would be obvious. However, when the male protagonist died, there is nothing that death cannot forgive, and death is not to accompany you. To be precise, it is not to accompany you until you die, but to accompany you until you are about to die and break up because of fame and fortune. .
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