The film is about two crossed feelings in the context of the return of Hong Kong. Not like Hong Kong in 1997, like in the 1980s. Gong Li is more bloated, lighter and more beautiful. Maggie Cheung was wearing a beggar's clothes, her whole body was dirty, her hair was disheveled, and half of her face was scarred, but she still couldn't hide her clean personality. Pretty in the core.
Thin, so only slightly cool. A dying person, involving a subject that has been questioned and saddened a billion times: day after day, whether to approach in sorrow or in happiness, death.
The widow is alive with thoughts.
And the power of life and death is left to himself. The moment JOHN goes out, he lightly puts his jacket on his wrist and has a deep plaid shirt, just like every time he goes out for an interview. Such a departure is forever.
These words are shocking. Some fish, cut open, still have their hearts beating. Gong Li finally said that JOHN made her find the courage to start over. This is a superfluous and very out of place statement. This is not the voice of the heroine's trauma in the film, but a superfluous sentence from the director.
The emotional lines in the film are thin, but the feelings are still true, like those who sell vegetables on a street vendor, day after day, they are still hungry. Noisy and profligate, trying to express a kind of emotion similar to the troubled times, coming and going nonsensically, perhaps fundamentally, Hong Kong in 1997 is not like this.
2007-07-31 03:06:15
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