Text / Desk Purple
In my memory, scary things should have a little classical flavor. One late night in the video hall era, I was frightened by a pair of embroidered shoes on my feet. In the past films, there was no restraint, the face was hideous, the belly was open, and the clarity was clear to the bottom, but it was also thoughtless and fearless; and such delicate patterns, antique, but seemed to suppress the mysterious murderous intention, in the In the undisclosed ambiguity, it combs through your cold back like a sharp blade. The thinking of the youth is so stereotyped, it is always difficult to change, but the light and shadow that vaguely come over are rarely set off. When I watched "Rose, Red Lotus", a certain shudder that had been floating in Yao Miao was instantly awakened. In fact, it is nothing more than a few feet of antique floral fabrics, with complicated, complex, intertwined, and teasing patterns, like trivial and meticulous meticulous paintings. But it is this simple and simple pattern, which is endowed with a sultry and cold field, which makes the deadly fear in the film become refined.
As for director Jin Zhiyun, since he watched "Memories" of "Three Watches", he has a feeling-level judgment. Whether it's breaking her fingers or digging the blood hole on her head, they all look sculpted and deliberate, and they can't even compare to the tear that fell from the corner of Yuan Liqi's eyes when Dawn was knocked into the air in "Homecoming". At that time, I thought that the director of a comedy film such as "Foul King" has the ability to control horror films, which is to spin around in the sensory world. For me, "Rose, Red Lotus" not only evokes a deep-seated horror complex due to the classical features of the artist, but also has a meaning of revision to preconceived ideas.
Like many films based on folklore, the story of "Rose, Red Lotus" is monotonous and boring. It has the conditions for easy word of mouth, but neglects to bury too many conflicts and gimmicks. It is customary in Korean culture that stepmothers and their children have bad relations, no less than the vicious saying of "stepmother" in traditional Chinese concepts. For the same type of films, due to the widely known content, they all adopt methods such as alienation and integration in form to make the film out of the rut of remaking old photos. For example, in Lin Quanze's "The Legend of Chunxiang", the storytelling artist's sings and sighs are inserted into the story, which not only cuts off the flowing development of the plot, but also marks the cultural taste. Similarly, the well-intentioned form of "Rose, Red Lotus" can also be said to be the first way to achieve the film.
The dual-line narrative structure is not uncommon, but the dual-line development of "Rose, Red Lotus" has added a pair of supernatural wings to an ancient and rigid story. The two sisters who are deeply in love returned home with their father, and their stepmother was in the hall, and then they suspected and fought with each other. Halfway through the film, the father shouted to the hysterical sister Rose: Your sister Honglian is dead. The audience at this time is bound to be dumbfounded, as if waking up from a dream and realizing that they have been calculated by the movie. In fact, this feeling has already been experienced in Nate Shyamalan's "The Sixth Sense", and the intensity of death is really shocking. Then the film turns back and tells the ins and outs of the story through flashbacks. If it is said that tragedy is to destroy beauty for others to see, then the appearance of Red Lotus as a dead person already has the characteristics of tragedy. Although the deceased (red lotus) is dead, it has caused irreparable suffering to the living (rose flowers). The sadness of the living is a hundred times deeper than the sadness of death.
The film has done enough work in the way of storytelling, but the vivid red lotus in the video is suddenly killed. Although it has an amazing stroke, it sets up obstacles for the film to justify itself. Red Lotus played a big part in the first half of the film. Although her brows are pleasing to the eye and her character is cowardly, her character is real and independent. The main creator's technique of moving flowers and connecting trees is reflected here. He will have the first half of the red lotus activity, which is generally classified into the conjecture of roses with mental problems. Although it is a bit reluctant, it is still satisfactory. Inferring the plot in this way, Rose's character is split apart. In addition to Rose's id, there is Red Lotus, and even a cameo stepmother. Thus, we see three sections of a person's split personality: Rose's strong and fearless, Honglian's cowardly and pitiful, and her stepmother's viciousness and viciousness. Therefore, the tragic meaning of elder sister Qianghua is far deeper than the wailing under her wardrobe before her younger sister Honglian died.
Jin Zhiyun once said that he likes the sadness, beauty and horror in the paintings of British painter Miller. These words are obviously in line with the propaganda of "Rose, Red Lotus". On the other hand, this sad, beautiful and terrifying feeling is the message the director wants to convey to the audience. Needless to say, the sadness and even sadness in the film, the extravagance of the fine patterns and the warmth of the younger daughter of the sister flower all show the ingenuity of the creator in the word "beautiful". And this beauty and horror are so intertwined: suburban villas, dim aisles, wooden floors, antique furniture, etc., all find a focal point for horror and beauty. As for the appearance of the ghost in the film, it just adds a little exciting element to the intuitive sense of the film. Ghostly, gloomy, and no ghosts, the film is decent on this scale.
Hong Kong and Taiwan translated the title of "Rose, Red Lotus" into "Sister Charming Deep", which is extraordinarily appropriate. Not only does the sister "charm" have the same pronunciation, indicating that the sister is dead, this "charm" also includes the unbearable husband's love Hanged mother. Watching a horror movie, all you see is the flood of horror imagery, it really doesn't feel very good. Dominating the audience with unwarranted shocks often leaves no trace in the breeze. For the viewer, there is bound to be a breath, from which to relieve the reflection on the world in which they live. And resorting to love is the best way. The couple's love in "Going Home" in Chen Kexin's "Three Watches", "Love Never Dies" in Chen Guofu's "Double Eyes", and the affectionate sisters in this "Rose, Red Lotus", all of which are full of love. Make a big fuss. When my thoughts are flying, I vainly contemplate the so-called world, often like the swing of the sisters in "Rose, Red Lotus". ...
At the end of the film, it just happened to return to the origin of the story. The stepmother saw that the red lotus was in distress and did not lend a helping hand, and then confronted the rose flower with evil words. When the whining of the red lotus weakened, the rose flower was going out angrily. The messy hair was flying loosely, and a big mental breakdown had planted a ticking time bomb. Vaguely, it seems that the outline of the legend can be guessed: In the past, there were two flowers, a rose and a red lotus; the red lotus died early, although the rose was still alive... At midnight, the light and shadow no longer flickered, and What flooded my chest was a different flavor of the past. Only once, so generously away from that bitter love. In the warm space of 28 degrees, a rare chill came uninvited, allowing Lucid to successfully resist the incoming drowsiness. I don't know when, in this dark and cramped room, the faint floral fragrance of the comb seemed to float.
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