I can't help but sigh for 'Golden Armor', which is now being released hotly.
Looking at the whole film of 'Red Lantern', I feel that the color of the picture is heart-burning when it is red, and it is desolate when it is cold.
Especially near the end of the film, when the fourth wife finds the body of the third wife who was forcibly executed in the
snow, the dazzling white in the snow and the blue cheongsam on Gong Li's body form a sharp contrast with the thick orange-red layout of the wives' house.
The colors in the film directly represent the ups and downs of the characters' status in the film.
Gong Li's immature acting skills in those days, or a kind of lucky young feeling, played a college student who had just dropped out of high school but was dazed, fearless but out of control.
In the film, the intrigues of the women in the gloomy and lonely mansion are unavoidable and regrettable.
It is interesting that these women are complaining about the red lantern hanging in front of her door, and they
are also being scorched by the dispute over land rights. Desires control the fate that no longer belongs to them.
It's like an imprisoned water tower, when people come in, it's hard to get out.
Even if you want to go out at that time, materially and spiritually will no longer allow it.
At the beginning of the chapter, I saw the name of the film's producer and 'Hou Hsiao-hsien'.
Later, after watching the film carefully, I found that the scene of 'Red Lantern' in the house does have his style of filming.
The color of the interior is red and orange,
the space is tight and suffocating,
the scene of the family sitting around the dining table to eat and talk and his
several scenes in 'Sad City', 'Flowers on the Sea' and the new film 'Beautiful Times' All have the same.
Come to think of it, I have missed the 'Golden Armor in the whole city' this year, and I won't be able to do it next year.
Because the 'red lantern' is still hanging high, lit, burning.
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