Seeing Cheng Dieyi put on makeup and accompany Yuan Siye babbled like madness, there was a vague sadness, which might be the desperation that a person anticipated looking up to such a behemoth as the times or fate. "Ba" has a kind of self-sufficiency from beginning to end, describing the tragedy calmly and objectively, making the cruelty colder, and unable to vent. "Wang Nan" does not have this kind of self-sufficiency, especially Wang - as the biggest villain (Cheng Dieyi is controlled by an irresistible fate, Kong Ji Changsheng is controlled by an irresistible royal power) - the complete absurdity shown, The acting of Wang's madness is like inserting a surreal character "I am the most miserable and pitiful person in the world" in a historical drama. Admittedly, a little uncomfortable. This also precisely implies that this film is not so serious, not to make people doubt life after watching it for a few days.
I still cried when I watched "Wang Man", but when Changsheng finally got the answer from Kong Ji, "I want to be an actor in my next life!!!", he no longer screamed, but laughed proudly, "Then let's play together in the next life." !"when. It seems that Changsheng will never despair, always be certain, and always be able to laugh at the absurdity of the cruel skin. It's a character who shines like a hero to the point of being unreal, and I think it's a compliment to be unreal here. Most of the characters in "Wang Nan" do not aim to create reality, but rather to create hope, not hope that is unaware of pain. Whether it's the longevity who is blind and stepping on the high rope to tell the void about his attention to the "play" life, or the big brother who is afraid of death and wants to escape as soon as possible but has a sense of responsibility regardless of his life, or even the extremely depressed Wang who faces Huang Duanzi laughed indifferently. The choked tears and the knocked-out teeth were as exaggerated but powerful as the grin that tried to grin.
It would be too ideological to say that this is the history of the struggle of the little people. Under the control of the director, everyone is a pitiful creature of their own destiny. Constantly throwing fists at fate and being knocked down, like confirming and affirming oneself inwardly, and fighting and killing those who block and deny themselves outwardly. I like this equality. The difference is that Wang and Lushui are winners but go to self-destruction, Kong Ji and Changsheng are losers but go to new life.
When I watched "Ba", I would have the idea of "If only... it would be nice...", for example, if Duan Xiaolou wasn't so indifferent to reaching out to Cheng Dieyi, it would be great. "Wang Man" can be considered to realize this "if". It is because of the helplessness and doom of reality that the almost impossible mutual support and cherishment between Changsheng and Kong Ji is precious. When something is said to be impossible, it makes people expect it to happen. I really want to be the same person for a long time. I want to make others sneer in horror. The brave and incredible thing becomes a reality, and finally it can illuminate another person. It's a wish as strange as "becoming the sun," but it's the power that "The King" evokes.
With that said, the exquisite death scene in "Ba" is perfect enough, but I can't do anything about that bleak tomb; "The King" is the nonsense of a drunken bard, but it keeps me in my luggage, thinking Good stories to carry on the road.
If I have a child, I hope he doesn't watch "Ba" until he becomes an old man, too thorough calm is just weight-bearing. And in the grand drama of life, what qualifications does a tiny human being have to be "through" and thus be caught by his throat and his feet? I hope he never grows old and walks lightly.
By the way, the scenery of ancient Joseon depicted in "Wang Nan" is very delicate and interesting. In addition to Changsheng, the trio of Lushui, Chushan and Jingcheng are also very tense. Kong Ji is weakened because of the symbolization, but he smiles beautifully (hey).
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