The observability of this version is very strong, the screenwriter basically deleted the meaning of illusory in the novel (vanity has a meaning similar to flashy, that is, it is futile after being brilliant), in the gorgeous atmosphere, from the myriad of threads In the novel, Rebecca's rich and wonderful life is extracted and dedicated to the audience, which greatly adapts to the aesthetic taste of modern audiences. However, if the adaptor has actually seen the original and understood Thackeray's creative intentions, I suspect he has some ambivalence in his heart. To keep the audience entertained for two hours, the poor screenwriter had to swing a butcher's knife, slashing the clue-laden novel to the size of the weighing pan. There is no doubt that the novel is a multi-protagonist period satire, while the film has become a big stage for a woman named Rebecca Sharp. Rebecca is indeed a bit unbearable written by Thackeray. In the novel, she is a heartless and vain woman who plays with everyone and applauds. She loves no one but herself. Certain audiences predating our time already thought this was an overly harsh treatment. The screenwriter of the film also apparently favored Rebecca's character, She's bold, independent and Versatile, so willing to give her a more graceful image morally: Rebecca is nothing but vanity (even this is not very prominent, although in the Indian dance scene, that sense of gratuitous extravagance is a metaphor for a certain A depravity that has bored and disturbed spectators on and off the field, including poor Roden Zain), but not ruthless. Sharp in the movie is so strong, optimistic, and kind, worthy of the vivid future that the screenwriter promised her. Almost everyone here is beautified. Due to his infatuation with rebecca, Roden was portrayed by the screenwriter Love House and Udi without any flaws. The image is also enhanced by the weeping father in front of his cemetery, with the exception of our dear slug Emilia. Not only has her role been reduced a lot, but her image is also extraordinarily eccentric and cowardly. Emilia's weakness and dependence, as well as her dullness, make her one of the most intolerable characters in the eyes of modern screenwriters. But in all fairness, how many women like sharp were there in the society at that time? As a normal female image, Emilia has rare kindness and infatuation, but she can't change anything for herself at all. Just as Thackeray failed to appreciate Sharp's independence at the time, writers today fail to understand Emilia's weak goodness. Thackeray laughed at everything, but could not bear to laugh at the affectionate loves of man, even so narrow and blind. The screenwriter can face up to and beautify this kind of emotion of men, but through Emilia, revealing the demanding of women's independence. From this point of view, people are always bound by the times and have certain limitations.
The ballad "she walks in beauty" in the opening credits is pure in style, exuding the elegance, somberness and mystery of the era. It was enough to make the audience excited and full of anticipation. But this style only appears in the title and when Rebecca sings the red rose in black at the Marquis's house. The music in the play is cheerful most of the time, which suits the optimistic and strong heroine Rebecca in the writer's mind. In addition to the remarkable soundtrack, the picture effects and actor selection of the film are also top-notch. The Indian-style banquet is impressive, a far cry from the playground scene in the novel. However, the beautiful and somewhat gloomy picture tones, suggestive bridges and tight plot continuations all have an oriental dreamy atmosphere, which is very remarkable. To say where the vanity of the whole play is reflected, the first is that the widow sharp wearing a black veil met Osborn's son in the casino many years later, and the second is this scene. The costumes of the actors are impressive. In addition to the soft and elegant lady's long dresses that were representative of the era (how does it look like the so-called Korean version now?), there are also many clothes in crisp fabrics and bright colors, especially Rebecca and several men. actor's. The actors are all beautiful, or very personal: Rebecca's pointy chin and charming eyes, Emilia's round face, innocent and a little silly, black-haired Osborn's arrogance and snobbery, and elder parents with different attitudes They, and the bitter-faced face who later became Reverend Pitts, was amazing.
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