From the story point of view, this is a story of escape and salvation, while the escape after Zhongliang and the pursuit of Dongchang are the shadows of Jin Yong's martial arts. Finally, the metaphor of deification of the Buddhist master is full of otherworldly thoughts.
From an ideological point of view, the struggle between Yang Lian and Wei Zhongxian is a secular power struggle and a struggle for ethics and morality. The escape of the descendants of the Yang family and the extermination of Wei Zhongxian are the continuation of this struggle. Whether it is Donglin Party or Wei Zhongxian, they are all vassals under the autocratic kingship, and the simple division between good and evil is lacking. The film ends with the deification of a massive master, as if to express a secular dispute that has no solution. Despair, and at the same time hope that there is a divine power to resolve this unsolved religious belief. This is the essential part of Chinese culture.
From the character point of view, Gu Xingzhai is an idealized intellectual in traditional Chinese culture. He is knowledgeable, he is indifferent to fame and fortune, he has a sense of justice, he is kind, he is filial, and he is full of wisdom... But such It is impossible for people to exist in history, and more people have lost their conscience and self for the sake of fame.
Yang Huizhen's role is an imagination of a chivalrous culture, Gu Xingzhai is an idealized projection based on reality, and Yang Huizhen is an image completely derived from the spiritual world.
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