no longer believe in flax

Every time he chats with Hu Ma about movies, he takes the trouble to state his position: "Crouching Tiger, Hidden Dragon" is the best movie in China - original words: "Since the filming of "Crouching Tiger, Hidden Dragon", I never dare to say "Crouching Tiger, Hidden Dragon". Farewell My Concubine is the best movie in China." Farewell My Concubine is good, the story and pictures are calm and powerful. A movie can have high scores in these two aspects, and it is natural to say it is good. At least more than half of the credit lies with Li Bihua. "Crouching Tiger, Hidden Dragon" is not bad, so the examples that Hu Ma gave to prove it's good are also valid (such as the opening chapter, the generous narration, the human nature that can withstand pondering), but I don't see how outstanding it is. In addition, it is not fair to talk about "Crouching Tiger, Hidden Dragon" without mentioning the original "Jade Dragon". Later, when he said that "Brokeback Mountain" was wronged by "Crash", I could only see Ya's sincere self-talk, lacking a standard of comparison.

The day before yesterday, I watched "The King's Man" recommended by Hu Ma, and was disappointed again. Wang is not as perverted as he said, and Kong Ji is not as beautiful as he imagined. That's all. The opening subtitles claim to restore (or guess what) the true heart of a famous tyrant in history. This might not be a very interesting story, so add a broken back element. - To say that this is purely a need for the story, not a gimmick, I don't believe it. Many comments remind everyone: This is not the Korean version of Farewell My Concubine! That means, try to dilute the broken back element as much as possible. However, in almost all shots, as long as that pretty guy appears, his face will be in the center of the frame.

A broken back is not a failure, it is the lack of motivation in the story itself. After Wang Jian stabbed the two former princesses (who killed his wife), the movie couldn't go on. The director knows how the story ends, but he obviously doesn't know how to advance to that ending. Wang is a gloomy child who lacks maternal love. He is cold and cruel. The explanation given in the story is only in this dimension, so he has no time to take his revenge. What does Kongji want? love? friendship? Art? free? Prosperity and wealth? Or both? He rubbed his face, refused to leave the palace, mixed with the king indistinctly, could not see the danger, the trap, the disaster, and was both overwhelmed and indifferent. No one knows why he chose this way. On the contrary, Changsheng's behavior is everywhere, and the evidence is solid and justified, like a footnote to a certain truth. King and clown's story is driven entirely by the moment of their dramatic rendezvous, which is the curtain call for the last palace performance. I don't see any good reason to drag it on to the point of betrayal.

Flax has a point: it's a Hamlet-esque revenge story. Therefore, the king is the protagonist. Too bad he didn't even have a decent line. Acting with eyes and beards alone is a bit more difficult.

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